Computer Music - March 2016
Content
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VOL. 31
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GRID
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900
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Heavily swung
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grooves and more
ENKL CM PLUGIN
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March 2016 / CM227
SOUND DESIGN
Learn to synthesise stunning mix-ready
sounds with our state-of-the-art guide
BASS
40
VIDEOS
PADS
LEADS
PRODUCER MASTERCLASS
FX
A
D
S
R
HOW TO USE
HANNAH V
NI RAZOR
The sessionist turned
producer in the studio
Pro guide to this
cutting-edge synth
INCLUDING TWO-PART HARMONY
PERCUSSION
TRANSIENT TIPS + MORE!
intro / computer music <
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See page 5 to find out how
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HOW TO USE
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Tutorials featuring this icon make
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Plugins – find
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TUTORIAL
FILES
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project files, audio examples, etc.
There’s extra video content
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VIDEO
2
MINUTES
WITH…
By my reckoning, the typical modern synth has, ohhh,
about a zillion controls. There are row upon row of knobs
to twiddle, multi-segment envelopes to design, step
sequencers at your command, sliders to be slid, and tons
of toggles, switches and buttons. But the one that
inspires me the most has to be the humble patch init
button that resets the synth
to a single oscillator, with
filter wide open and no
modulation in sight. Ah, a
blank canvas for my sonic
art! Whether I’m after a
basic sawtooth bass or a
massive multilayered pad, I know exactly how to find my
way there from this most elementary of starting points.
What if you’ve never been on that journey, though, or
your own attempts at rolling synth patches from scratch
have fallen well short of professionally produced presets?
It can be daunting, I know, and that’s exactly why we put
together our huge Synth Sound Design guide (p36). We’ll
walk you through the creation of slick basses, pads and
leads, hit you with top techniques for ace FX, and more.
The synth party continues apace, with Ultimate
Arpeggiators (p65) pushing your synth lines
to the next level; How To Use Razor (p71)
showing you around NI’s superb
instrument; percussion synthesis from
Break (p82); and, of course, Enkl CM
(p10), an instantly gratifying monosynth
crafted just for us by Klevgränd.
Cableguys even slipped us a sneaky
Curve 2.6 CM update – see what’s new at
bit.ly/Curve26CM. With that little lot,
you simply can’t fail to…
“Ah, a blank
canvas for my
sonic art!”
See and hear the latest software in
action! Get the video on the Vault, or
youtube.com/computermusicmag
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Lee du-Caine Editor
ISSUE 227 MARCH 2016
contents
COVER
FEATURE
Producer
masterclass
SYNTH
SOUND
DESIGN
Master your virtual
instruments once and for
all with our huge guide p36
59 HANNAH V
The classically trained
pianist lets us on her in-studio
production tricks and techniques
Tutorials
65 ULTIMATE
ARPEGGIATORS
Generate swift and masterful melodic
runs with our state-of-the-arp guide
Tutorial
/experts
71
HOW TO
USE RAZOR
Take full control of NI’s
additive soft synth
80
EASY GUIDE:
TWO-PART HARMONY
82
DESIGNER SOUNDS:
SYNTH PERCUSSION
Interview
84
GEEK TECHNIQUE:
TRANSIENT INTRICACY
86
DR BEAT: CONGAS
AND BONGOS
4 / COMPUTER MUSIC / March 2016
88 A-TRAK
The DMC legend turned remix mogul
tells us how he got to where he is today
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IN THE VAULT
THIS ISSUE
Enkl CM
Unwrap this issue’s free monosynth and
find out how to get the most out of it on p10
Samples
VOL. 31
Over 900 groovy loops that’ll
bring personality to your tunes
– see what’s inside and how
they were made on p14
Reviews
OFF THE
GRID
96
IZOTOPE OZONE 7
98
MELDAPRODUCTION MXXX
100
UVI FALCON
Tutorial videos
102
SOUNDTOYS 5
106
KILOHEARTS MULTIPASS
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PLUS 14 MORE PRODUCTS REVIEWED
See this issue’s entire video content on the next pages
Essentials
24
NEWS
30
WHAT’S ON YOUR DRIVE?
31
BURNING QUESTION
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Our exclusive collection of
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This digital content has been thoroughly scanned and tested at all stages of production, but as with all new software, we still recommend that you run a virus checker
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* Please note that the Producer Masterclass video is not available as a download. From
221 onwards, this video is available via a streaming link.
March 2016 / COMPUTER MUSIC / 5
video
Tons of tutorial videos for you to download from our Vault
SYNTH
SOUND DESIGN
Step up to the drawing board and
design your best patches ever with
these how-to videos from the experts
A
D
S
R
Read the full article on p36
1 Punchy tech bass
with Aalto CM
2 Expressive, analoguestyle bass with Reaktor 6
3 Rumbling Reese
bass with Spire
5 Heavenly 80s choir
pad with Dune CM
6 Custom waveform
pad with Serum
7 Classic house lead
with FM8
9 West Coast hip-hop
lead with Strobe2
10 Punchy detuned EDM
lead using Dune CM
TIP 1 Resonant white noise
sweep with Enkl CM
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6 / COMPUTER MUSIC / March 2016
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* Please note that the Producer
Masterclass video is not available as a
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4 Quick bass stabs
with Hive
8 Spooky trap lead
with Strobe2
TIP2 Designing FX using
frequency modulation
video
Download this issue’s videos on PC/Mac at our online Vault
PRODUCER MASTERCLASS*
ULTIMATE ARPEGGIATORS
Forget the piano lessons – whip up creative
melodies and more with the power of software!
Read the full article on p65
1 Arpeggiator basics with
Cream CM
2 Generating a melodic
top line from chords
3 Programming chords
with an arpeggiator in mind
4 Automating Dune
CM’s arpeggiator rate
5 Arpeggiated 8-bit
chords with miniBit CM
6 Polyphonic arpeggiation
with Nora CM
7 Chaining multiple
arpeggiators together
8 Using an arpeggiator
as a drum sequencer
HANNAH V
See how she wrote and produced Andreya Triana’s
Branches of Life using Apple Logic in this studio vid
Read the full article on p59
ENKL CM
Download and get started with this issue’s plugin, a
sweet monosynth made just for us by Klevgränd
Read the full article on p10
* Please note that the Producer Masterclass video is not available as a download via our Vault.
See page 60 for viewing instructions, or watch on Apple Newsstand via built-in internet streaming.
March 2016 / COMPUTER MUSIC / 7
video
Grab this issue’s videos via Vault download – see p5 for details
HOW TO USE
RAZOR
Brush up on NI’s additive
synthesis powerhouse with
our comprehensive guide
Read the full
article on p71
1 Loading, saving and
morphing Razor’s snapshots
2 Understanding Razor’s
Oscillator sections
3 The additive filter
banks in Razor
4 Wielding Razor’s
Dissonance Effects
5 Stereo effects and
Dynamics in Razor
6 Razor’s Voicing, Global
Controls and View B
7 Understanding Razor’s
Spectral Clip and Safe Bass
8
9 Razor’s
graphical display
Modulation with Razor
/experts
EASY GUIDE
DESIGNER SOUNDS
GEEK TECHNIQUE
DR BEAT
TWO-PART
HARMONY
SYNTH
PERCUSSION
TRANSIENT
INTRICACY
CONGAS AND
BONGOS
Quickly add lines to
melodies without
breaking your brain
Break’s guide to
designing percussion
lines from scratch
Owen Palmer goes on
the attack and shows us
how to make an impact
Become a virtual
master conguero with
Ronan Macdonald
Read the full
article on p80
8 / COMPUTER MUSIC / March 2016
Read the full
article on p82
Read the full
article on p84
Read the full
article on p86
> download / enkl cm
>Exclusive full software
Klevgränd
Enkl CM
DOWNLOAD
Introducing our new monosynth, packed with clever modulation
and plenty of built-in effects, yours for free with this issue!
If there’s one thing we at Computer Music
know, it’s that our readers love a greatsounding synthesiser. That’s why we’re not only
focusing on synthetic sound design in this issue,
but also giving away an amazing and exclusive
synth plugin: Enkl CM, by Swedish software
magicians Klevgränd.
Based upon the full Enkl (8/10,
223) – but
sporting one oscillator and a single LFO, rather
than two of each – Enkl CM is a virtual synth
capable of a huge range of tones and textures,
from chest-pounding sub bass, silky lead lines
and futuristic arpeggios, to versatile percussion,
psychedelic FX and everything in between.
Enkl CM’s one-oscillator architecture and
OSCILLATOR SECTION
Change the oscillator’s
waveform, phase, tuning
and gain
monophonic voicing are reminiscent of classic
hardware monosynths, serving up an extremely
simple and intuitive instrument that even
electronic music novices should have no
trouble getting to grips with.
The oscillator can be switched between
triangle, saw, square and noise waves, shaped
with an ADSR envelope, and either amplitudeor frequency-modulated via an envelope and an
LFO. Resonant low-pass and high-pass filters are
onboard for sculpting the raw oscillator tone,
while legato, arpeggiator and vibrato modes
accommodate a range of playing styles. There’s
also a dedicated three-band EQ, plus stereo
delay and width effects to customise the synth’s
VOICING
Toggle Legato and/or Arpeggio
modes, and set Arp Speed and
Glide values
Get the plugin and the video
tutorial on your PC/Mac at
vault.computermusic.co.uk
overall timbre and stereo imaging.
Once Enkl CM has you designing sounds and
riffing away like there’s no tomorrow, try out its
bigger brother, Enkl, which adds a second
oscillator and another LFO for even more
monophonic fun. Other Klevgränd plugins
include Kuvert, a creative, envelope-driven
multi-effect; Esspresso, a precise de-esser; and
Korvpressor, an “adaptive limiter/compressor”.
All are available as VST/AU plugins and iPad
apps.
readers can upgrade to the full Enkl
for only $9.99 instead of the usual $14.99, by
using the code ENKLCM16 or pointing your
browser towards klevgr.se/enklcm16.
www.klevgrand.se
DELAY
A stereo ping-pong delay with
Time, Feedback, Spread and
Mix parameters
EQ
A three-band EQ
with adjustable
crossover points
STEREO WIDTH
Crank up the
knob to spread
out the synth
FM/AM
Apply LFOdriven amplitude
or frequency
modulation
FILTERS
Apply both Low Cut and High Cut filters,
and adjust Resonance and Attack
10 / COMPUTER MUSIC / March 2016
PITCHBEND
AND VIBRATO
Set Vibrato Speed
and Depth, and
adjust the synth’s
pitchbend range
MASTER VOLUME
Sets Enkl CM’s
overall output level
ADSR envelope
Tweak the
amplitude envelope
enkl cm / download <
> Step by step
Installing and using Klevgränd Enkl CM
1
To install Enkl CM on either PC or Mac,
you’ll first need to download
Klevgrand_Enkl_CM.zip from this issue’s
Vault (vault.computermusic.co.uk).
Extract the plugin files from the Zip and
copy them to the appropriate folders on
your system – read the Installation.txt file
for the specific locations.
4
The phase offset slider enables
you to adjust the starting phase of
the waveform, and ranges from 0 to
360 degrees. We’ll leave this at 0. The
circular Fltr button turns the synth’s filters
on or off – again, keep this at its default
‘on’ setting.
7
The Freq slider sets the speed of the
modulation, and the pitch is currently
moving slowly as it’s at the slowest setting.
Drag this slider right to increase the LFO
rate, speeding up the pitch modulation.
The Gain slider sets the amount of
modulation – set it somewhere between
10 and 20% to reduce the effect.
2
Once installed, fire up your DAW of
choice – we’re using Steinberg Cubase
Pro 8 – and load Enkl CM onto a software
instrument or MIDI track.
and
Klevgränd have joined forces to create
over 40 categorised presets, so use your
DAW’s preset-browsing system to audition
the available sounds. Mac-based Ableton
Live users should use the VST version of
Enkl CM to access the preset menu.
5
The oscillator can be tuned in the Osc
Pitch section, which contains three
horizontal sliders: the upper slider equates
to octaves, tuned between -2 and +2; the
second changes the pitch in semitone
steps over an octave; and the third slider
applies fine tuning in cents. The Osc Gain
slider changes the oscillator level – keep
this at its maximum value.
8
The LFO’s ADSR envelope is used to
shape its response. Push the first of
the four sliders – attack – up to almost
maximum and hear how the frequency
modulation now slowly fades in with each
new MIDI note.
3
Now let’s build a sound from scratch,
working through the synth’s
parameters and features in order of signal
flow. Begin by loading the default _INIT
preset to initialise the synth. We want to
start in the oscillator section, found at the
top left, where we can select from four
waveshapes – triangle, saw, square and
noise. Select the Square wave.
6
Onto the AM and FM section, where
you can apply either amplitude or
frequency modulation, selected using the
section’s top buttons. Let’s look at FM first:
change the LFO shape to a sine wave, and
turn its Gain all the way up: you’ll hear the
oscillator’s frequency (ie, pitch) being
heavily modulated by the LFO.
9
Hit the AM button to switch over to
amplitude modulation – the LFO now
controls the volume of the oscillator. Turn
the Gain up to maximum, pull the attack
down to its fastest setting, then alter the
Freq slider to change the modulation
speed. Try out the various LFO waves for a
range of effects, then select the Triangle
shape and set Freq to the half-way mark.
March 2016 / COMPUTER MUSIC / 11
> download / enkl cm
> Step by step
Installing and using Klevgränd Enkl CM (continued)
Currently, the Glide dial is set at
around 11 o’clock, but when we play
overlapping MIDI notes, the synth doesn’t
glide between them. To activate glide,
toggle the Legato button at the top of the
Enkl CM interface. Overlapping notes now
bend into each other at a rate determined
by the Glide knob.
10
13
Next, the effects section, top right. The
Stereo Width effect, exclusive to the
version, detunes the left and right
channels further apart as it’s increased,
creating an impressive stereo spread.
Crank the knob up to around 12 o’clock to
push the sound out to the sides of the mix.
11
Enkl CM features separate high- and
low-pass filters, with a shared
Resonance control setting the cutoff
frequency boost for both. Set High Cut
(aka low-pass) to 12 o’clock, and crank Res
up to maximum to sculpt an aggressive
synth tone. Attack is like ‘glide’ for the
filter’s key tracking. When set to 0, the
filter cutoff instantly tracks each new note,
but when increased, the filter takes time to
react, giving a ‘swooping’ effect.
14
The EQ section can be used to further
sculpt the synth’s tone. Turn the
module on, then click and drag the bands’
vertical lines to set their crossover points,
and drag each band up or down to
increase or decrease its gain. Here, we’ve
applied a treble boost to brighten the
sound. Vibrato is applied via movement of
your MIDI keyboard’s mod wheel, the
range and rate of which are set via the
Vibrato Range and Speed knobs.
12
The Arpeggio and Arp Speed
parameters control the arpeggiator,
which we’ll come back to shortly. The
central ADSR envelope is used to shape
the synth’s volume envelope, the four
sliders defining the attack time, decay
time, sustain level and release time. Leave
these at the default settings.
15
The very useful Delay module is a
ping-pong delay that can be used for
everything from subtle widening to
extreme feedback echoes. The
parameters will be immediately
recognisable to anyone familiar with
typical delay effects. Again, punch its
toggle button to activate the effect.
POWER TIP
>Take it further
16
As with all of Enkl CM’s parameters,
the delay sliders don’t display their
values numerically, encouraging you to
set them by ear. Hit the top switch to turn
the Delay on, then set a short Time and
medium Feedback, and dial the Spread
and Mix values in to taste. Crank up the
Feedback for cool repeating echoes
12 / COMPUTER MUSIC / March 2016
17
Let’s quickly wrap up with a look at
Enkl CM’s arpeggiator. Head back to
the top centre of the interface and activate
the Arpeggio button. Now, holding
multiple MIDI notes at once causes the
synth to play them in a sequence, the
speed of which is defined by the Arp
Speed dial.
Although the included presets, made
by Klevgränd and the
team, do a
great job of showcasing Enkl CM’s
potential, you’ll get the most
enjoyment and mileage out of it by
designing your own patches. For
example, try using the white noise
oscillator, dual filters and delay to
craft exciting noise-based FX and
percussion; or switch to the triangle
wave oscillator and play with the
filter resonance to create beefy sub
tones. Finally, have a go at combining
amplitude modulation, arpeggiation
and delay to create captivating
patterns and sequences.
> download / samples
Exclusive samples
Off The Grid
DOWNLOAD
Download the samples
onto your PC/Mac at
vault.computermusic.co.uk
Feeling uptight? Switch off the snapping and let it all
hang loose with this huge pack of royalty-free beats
915 EXCLUSIVE SAMPLES
306
216
10
55
100
83
Cyclick drum loops
Groove Criminals drum loops
drum kits with 155 samples
individual drum hits
drum top loops
instrument loops
14 / COMPUTER MUSIC / March 2015
As soon as computers started helping us
make our music, the world immediately
changed for the better. Those beige boxes
were no longer just gaming machines or
word processors but began to take on new
life at the heart of world-class bedroom
studios everywhere. Computers gave us
instant instruments, infinite edits, tracks
galore, and of course, perfect timing.
But there’s a downside to everything,
dear readers – you see, as countless 80s
electropop bands proved, you can get too rigid.
The horizonless world of electronic music
started to rely too heavily on that precious
on-screen grid, and soon enough, humanity had
gone from a Utopian brotherhood of jazz hands
and jaunty tapdancers to an enslaved race of
auditory automatons.
And then, from the geometrically perfect
hellscape, a band of off-kilter forces mustered a
final fightback. Roland’s grooveboxes did the
shuffle, the Akai MPC busted a groove, and the
world was once again thrilled by the joys of
perfectly imperfect rhythm.
We at
know the efficiency of the ‘snap to
grid’ function, but we’re also acutely aware that
“it don’t mean a thing if it ain’t got that swing”,
which is why we commissioned this off-kilter
sample pack of grooved-out, skittering loops to
add a sense of feeling back into your music. All
the samples in this pack are royalty-free, and
they’ve been created for us by our two trusted
sample boffins…
Groove Criminals
Oli Bell is so dedicated to swung rhythms that
he’s given up walking forever, favouring instead
to move through the world by way of a dignified,
manly skip. We joined him for a leisurely bounce
to his local ASDA, getting to hear en route about
how Groove Criminals created these samples.
“To make the beats, we used a mixture of
hardware and software. FXpansion’s fabulous
Geist was put to work with the MPC/SP-1200
swing templates from its predecessor Guru,
while we pressed our Akai MPC500 into
service alongside a stack of hardware drum
machines, each with its own swing feel. Our
Boss Dr Groove DR-202 offered some lovely
swing templates built in, even if they were a bit
of a fiddle to use.
Once we arrive at the megamart, Oli rushes
to the deli counter to see if there are any ‘free
samples’. They’re all out of bass loops, so Oli
settles for 20 kilos of tasteless cubic cheese.
“We also broke out some vintage kit: the
Oberheim DMX, Korg Rhythm 55, Hammond
Auto Rhythm and Selmer Auto Rhythm vintage
drum boxes. Each has its own swing personality,
some of which we tweaked later in software,
adding more shuffle loops via Geist and Cubase.
We’ve also included plenty of hits from the
original machines for flexibility.
“We included some live loops too, performed
both on real drums and on an electronic kit.
“All the top loops were synthesised and/or
sampled using a mixture of software, hardware
and household objects. You’ll get the best out of
them by laying them over more straight kick
and snare parts.
“The instrument loops were also a mixture of
hard synths such as the Access Virus B, and soft
synths. They were all sequenced with an Arturia
Beatstep, set to swing!”
www.groovecriminals.co.uk
samples / download <
Oli Bell’s rackmounted
Access Virus B gets a
rare outing in this pack
Oberheim knew the importance of swing
when they created the DMX drum machine
Arturia’s BeatStep controller and FXpansion’s Geist helped bring these samples to life
Cyclick
As we negotiate the self-service checkout, we
find Robbie Stamp staring mournfully into the
change dish. He’s been waiting for a price check
on a bottle of vinegar for 20 minutes. We take
the time to ask him about his contribution to
this month’s sample pack.
“From heavy swing to looser-than-loose, in
fours, fives, sevens and eights, these beats roam
all over the bar, paying little heed to straight
lines after the ‘one’. As a drummer said to me a
long time ago, ‘It doesn’t matter where you go,
so long as you come back on the one.’ He was
wrong, of course, as a number of his excursions
in time did little for the rest of the band, or the
audience, and coming back on the ‘one’ was
never a given!”
Jean the supervisor returns brandishing a
vessel of Sarson’s. It’s a fiver, and the top has
now been re-engineered so you can’t refill it
with the cheap stuff. Robbie continues.
“The loops are banded up in tempo folders
(85, 95, 110, 120, 130 and 140bpm) and feature a
number of types…
“There’s HeavySwing, with quantised swing
anywhere between 50% and 100%, with plenty
of ‘random’ timings for a more human feel;
OddSig, a collection of two-bar loops in unusual
time signatures such as 5/4 and 7/8, which I
played in by hand; DuoSwingMix offers you two
layers of HeavySwing drum patterns mixed
together through four different processes; and
TripSwingMix is similar but uses three layers,
mostly panned L/C/R.
“The drum kits used are also available as hit
kits in the Drum Kits folder.”
www.soundcloud.com/cyclick-samples
Grab these exclusive samples on your PC/Mac
at vault.computermusic.co.uk – see page 5
for more on how to download this and the rest
of this issue’s videos, files and software.
Selected
kit list
Yamaha SPX1000
Boss DE-200 Digital Delay
Boss Dr Groove DR-202
Arturia BeatStep
UAD-2 plugins
Soundtoys plugins
Eventide Omnipressor
Kush Audio Clariphonic DSP MkII
Selmer Auto Rhythm
Korg Rhythm 55
Arsenal Audio R24 EQ
Focusrite ISA 828
Access Virus B
Native Instruments Kontakt 5
Steinberg Nuendo 5.5
Antelope Audio Orion 32
FXpansion Geist
Akai MPC500
Oberheim DMX
March 2015 / COMPUTER MUSIC / 15
> download /
plugins
PLUGINS GUIDE
INSTRUMENTS
Our exclusive collection
of instruments and
effects is included
with every issue of
Computer Music – it’s
got all you need to
make great music now!
The
Plugins collection is a suite of complete, limitation-free
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more than 50 pro-quality plugins that you won’t find anywhere else, all
for PC and Mac, in VST and AU formats. All of the included software is
created exclusively for us by respected commercial developers such as
Ohm Force, KV331 Audio, u-he, Cableguys, AudioThing, XILS-lab,
Vengeance-Sound, Rob Papen and zplane.
Where do I get
Plugins?
As a download from our Vault
(see p5 for instructions on how
to access).
How do I install
Plugins?
You’ll find specific installation
instructions for each plugin
in the How To Install file in the
CM Plugins folder.
What do I need to use them?
A PC or Mac and a music program
(aka DAW) to host them (ie, ‘plug
in’ to). You need a DAW that can
host VST or AU plugins, such as
Ableton Live, Reaper, FL Studio
(PC), Cubase, Sonar (PC), Logic
(Mac) or Garageband (Mac).
What happened to…!
As of
209, many
Plugins
have been upgraded to include
64-bit compatibility. The few older
Plugins that remain 32-bit-only
– such as Amplifikation CM, Rhino
CM and KR-Delay/KR-Reverb – are
now included in the 32-bit only
subfolders. These plugins require
either a 32-bit host or a suitable
‘bit bridge’ (eg, jBridge) for use
within a 64-bit DAW.
Still got questions?
See the full FAQ at
bit.ly/cmpluginsfaq
16 / COMPUTER MUSIC / March 2016
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
HYBRID SYNTHS
v2.6
UPDATE
Cableguys Curve 2.6 CM
s Design-your-own-waveforms synth
s New waveform capabilities for v2.6
s Phat 16-voice Unison mode
s Based on Cableguys Curve 2.6
s AU/VST/RTAS, 32-/64-bit
www.cableguys.de
KV331 Audio SynthMaster CM
s Dual wavescanning oscillators
s Multimode filter and built-in effects
s Customisable waveshaping distortion
s FM/AM synthesis modes
s Based on SynthMaster 2.5
s AU/VST, 32-/64-bit
www.kv331audio.com
SAMPLERS
Synapse Audio Dune CM
s VA and wavetable oscillators
s Powerful per-voice modulation
s 12-slot modulation matrix
s Based on the full version of Dune
s AU/VST, 32-/64-bit
www.synapse-audio.com
FREQUENTLY ASKED QUESTIONS
What is
Plugins? Is it just
freeware from the internet?
No, and neither are the plugins
limited or ‘crippled’. It’s a set of
virtual instruments and effects
created by some of the best
developers in the business just for
us – you won’t find this set of
plugins anywhere else!
DOWNLOAD
Expert Sleepers
XFadeLooper CM
s Creative crossfade-looping sampler
s Hard sync mode s Modulation
s Saturation section s Flexible looping
s Based on Crossfade Loop Synth v3
s AU/VST, 32-/64-bit
www.expert-sleepers.co.uk
u-he Zebra CM
s Blendable oscillator waveforms
s Super-programmable step LFOs
s Slick delay, reverb and chorus/phaser
s Original synth designed just for CM
s AU/VST, 32-/64-bit
www.u-he.com
Loomer Cumulus
Enzyme CM
s Scanned synthesis sound generation
s Straightforward preset-based setup
s Assign presets’ parameters to controls
s Based on the full Enzyme synth
s AU/VST, 32-/64-bit
www.humanoidsoundsystems.com
s Granular sampler
s Scenes function for sequencing slices
s Not based on an existing plugin
s AU/VST, 32-/64-bit
s RTAS/Standalone 32-bit
www.loomer.co.uk
plugins / download <
plugins reloaded / make music now <
> Step by step
11 Piano and vintage synth sounds
D
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dC
dt t
t
2 M th
fl
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k
foc
>
CURVE 2 CM
d
lt
We turn our attent on to th s
versat e nsp r ng synth the atest
Plugins family
add t on to the
DOWNLOAD
74
VIDEO
TUTORIAL
Satson… and on
It can’t have escaped your
attention that we ve used the
Satson CM plug n on lmost
every track in our tune Th re s a
good reason for th s: t s
awesome! Satson CM emu a es
the sound of a ha dw re m xer
channel and it’s des gned to be
placed on every t ack in your
mix, to lend its sub le s gnatu e
sound to, well, eve yth ng
It’s light on CPU and can m ke
pretty much any rack sound
warmer and mo e ounded The
plugin can also help to smooth
out the sometimes harsh sound
of digital synths D iven ha der
Sa son CM can prov de some
au hent cal y vin age sound ng
d sto t on e fec s The gen le
h gh- and low- ut f l ers g ve us a
qu ck and asy way of hinn ng
out muddy lows or ro l ng off
t nny highs and you can swi ch
o f the dr ve func ion f you just
want to use t for he f l ers or a
c oser ook at Sat on CM take a
ook t our YouTube video at
www bit y/Ov2WMF
> Step by step
1
3
We ve go almo t a l he m s cal d as
we ne d to c ea e a fu l une but we
need o sp ce t up wi h ex r s and ear
ca dy F r t le s pro ess a p a o at h o
t at t sou ds a b t l ke t s b en samp ed
f om n old r t ne We s a t by l ad ng a
MID t ack pa ned 9R w h a at h r m
t e K ys»G an Pi no pre et n Al hemy
P aye CM
We EQ the ia o n qu te a d s nc ive
way n I EQP o s ng the c rve hown
he e ut i g ff he ow r quen ie and
add ng a b g boos at a ound 8kHz or a
t inn d out v nt ge ki d of so nd T e
p ano so nd is i i hed o f by Sa son CM
wi h the G in nc eas d to +4 and H gh
Pass et a 400Hz to ose e en m re
l we d
2
4
We p ay some ch rds n o he ra k
Pi no m d) and opy some ov r f om
the t ing t ack The p ano so nd is ui e
sho t so we ra se he Re ease o 70% o
le gth n it mak ng t more s i ab e for
our ra k We a so urn t e Delay M x to 0
to kn ck out o f he nbu lt cho e f ct
Ne t a in age yn h e d ne
Gl de m d) r m Po yKB I CM w i h
boa ts s me ru y g eat a al gue s yle
soun s We ch ose Le d»A l» D S ar ng
Gl der J M and p ay n a m lo y ne
us ng the i chb nd w eel o add nt re t
(G id r m d) We add Sa son CM wi h -3
Gain 750Hz H gh Pass nd 16kHz L w
Pass en bl ng he t gh er 1 dB/o t mode
12 Risers and effects with Alchemy Player CM
VIDEO
TUTORIAL
1
We e go ng to ne d a ew one sh t
er uss on FX o pr nk e hrou hout
he t ack and a r a ly s mp e w y to c ea e
hem s o oad A ch my la er CM on a
new ra k nd se ec the D um »Four
Way Drum Mo ph pr set Add
KR De ayCM se to P ngPong mode and
1 4 bea Sync De ay t me A F edback nd
Dr /Wet eve of 40% is er ect
2
We ake t e easy o t on f r the eve b
si g Reve be at CM s C thed al
pr set w th he Dry We at 0dB We to
c ea e ome big s la hy h ts a d ra hes
An i st nce of at on CM et o 00Hz n
t e H gh Pa s di l r m ves s me o the
more bo my e emen s whi h cou d
con i t wi h the k ck rum and ba s
3
Th re s a go d w i e no se r s r sound
n Al hemy Pl ye : Sou d
Ef ec s»B eakdown Booom hi pat h
uses our i f ren l yers o we u e the
X/Y 1 mat x o man pu ate t Dr ggi g
the ont ol o the op r ght f t e anel
m ans hat on y he whi e no se swe p
l yer o the s m le s p ayed n he ra k
we an use olume a d an au om t on
to add n ere t
December 2012 / COMPUTER MUSIC / 47
!
W
E
M PLUGINS TUTORIAL BANK
N
To help you get the most out of our immense plugin
collection, we’ve assembled the
Plugins Tutorial Bank,
containing over 100 guides and tutorials for our
Plugins,
specially selected from past issues. You’ll find Getting Started
PDFs and videos for most of the individual plugins, along
with tutorial PDFs and videos on using
Plugins for sound
design, mixing, and even creating entire tracks. You’ll find all
of this as a handy download in our Vault – go grab it now and
start getting more out of your plugins!
vault.computermusic.co.uk
VIRTUAL
ANALOGUE
SYNTHS
DRUM
MACHINES
DopeVST Beat Machine CM
LinPlug Alpha CM
DopeVST Bass Engine CM
Rob Papen RG-Muted CM
s 50 ready-mixed, royalty-free kits
s Kick, Snare, Hi-hat and Misc parts
s Level, Pan, Pitch and Reverb controls
s 50 MIDI beats included
s Based on the full Beat Machine
s AU/VST, 32-/64-bit
www.dopevst.com
s 45 authentic hip-hop bass patches
s Three eras of faux-sampled material
s Envelope and note controls
s 50 MIDI riffs included
s Based on the full Bass Engine
s AU/VST, 32-/64-bit
www.dopevst.com
s Creates realistic funky guitar grooves
s Sequencer, FX and modulation
s Based on Rob Papen RG
s AU/VST, 32-/64-bit
www.robpapen.com
s Dual oscillators with blendable waves
s Easy operation s Modulation matrix
s Slick chorus effect s Polyphonic glide
s Based on the commercial Alpha synth
s AU/VST, 32-/64-bit
www.linplug.com
OTHER
XILS-lab PolyKB II CM
AudioThing miniBit CM
s Models the ultra-rare PolyKobol synth
s Packed with mix-ready preset variants
s Knobs assignable to main parameters
s Based on XILS-lab’s PolyKB II
s AU/VST/RTAS, 32-/64-bit
www.xils-lab.com
s 15-waveform chiptune synth
s Envelope, LFO, bit/sample reduction
s Based on the full miniBit synth
s AU/VST, 32-/64-bit
www.audiothing.net
AudioRealism ADM CM
s Old-school-style drum machine
s Emulates Roland’s legendary TR-606
s Also contains custom
samples
s Based on the full ADM
s AU/VST, 32-/64-bit
www.audiorealism.se
Madrona Labs Aalto CM
s Unique and powerful monosynth
s Unusual oscillators with FM
s Waveguide delay section
s Intuitively patchable modulation
s Onboard reverb s Step sequencing
s Based on the full Aalto synth
s AU/VST, 32-/64-bit
www.madronalabs.com
XILS-lab XILS 3 CM
s Modelled on the EMS VCS 3 modular
s Authentic oscillators, spring reverb
and ring mod circuits of the original
s Added chorus and delay effects
s Pin matrices to ‘patch’ the signal flow
s AU/VST, 32-/64-bit
www.xils-lab.com
Kirnu Cream CM
s Master arpeggios with this MIDI tool
s Get more out of plugin instruments by
controlling them with Cream CM!
s Program and store complex patterns
s Musical controls for rhythm and notes
s AU/VST, 32-/64-bit
www.kirnuarp.com
zplane vielklang 2 CM
Camel Audio
Alchemy Player CM
brunsandspork Grooove CM
s Innovative drum instrument
s Load in two samples per sound and
choose how they respond to velocity
s 50 built-in
Micro Kits to play
s Based on the full Grooove
s AU/VST, 32-/64-bit
www.brunsandspork.com
s 200 awesome ready-to-play patches
s Loads SFZ patches – often included in
our own
sample collections!
s Based on the full Alchemy synth
s AU/VST/RTAS, 32-/64-bit
www.camelaudio.com
s Pitch-correct and retune audio
s Harmonise melodies with ease
s Algorithms by the experts at zplane
s Based on vielklang 2 Instant Harmony
s AU/VST/AAX, 32-/64-bit
www.zplane.de
Squaredheads Nora CM
Eisenberg Einklang CM
s Morph between a trio of oscillators
s Envelope and timbre controls
s Modulate tone with the LFO
s Based on the full Einklang synth
s AU/VST, 32-/64-bit
www.eisenberg-audio.de
s Input up to four notes, output chords
and arpeggios across three octaves
s Program velocities and store patterns
s Based on the full Nora and Nora 2
s AU/VST, 32-/64-bit
s Mac users require OS X 10.8 or above
www.squaredheads.com
March 2016 / COMPUTER MUSIC / 17
> download /
plugins
PLUGINS GUIDE
EFFECTS
DOWNLOAD
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
EQ/ FILTERS
Ohm Force Ohmygod!
DDMF CM EQ Pack
FEATURED PLUGIN
s Two superb equalisers
s IIEQ Pro CM: 19 filter types
s LP10 CM: Linear phase mastering EQ
s Based on commercial DDMF plugins
s AU/VST, 32-/64-bit
www.ddmf.eu
Loomer
OverTone DSP
Program EQ CM
Cumulus
This granular sampler and beat
slicer will really get yo r creative
juices flowing. Load a sample and set
up eight ‘Scenes’ in which to slice and
dice it, each giving control over Pitch,
Speed, Size, Pan, Shape and Volume.
Play each Scene back via MIDI or
using Cumulus’ internal sequencer for
instant inspiration!
www.loomer.co.uk
18 / COMPUTER MUSIC / March 2016
s Resonant comb filter
s Distortion section
s LFO with sync
s Output filter
s AU/VST/RTAS, 32-/64-bit
www.ohmforce.com
eaReackon CM-EQUA 87
s Smooth three-band EQ
s Adjustable low-cut filter
s Switchable high/low shelves
s Analyser, EQ tips, limiter and more
s Based on eaReckon’s PR-EQUA 87
s AU/VST, 32-/64-bit
www.eareckon.com
s Pultec-style vintage EQ emulation
s Dual bass boost/attenuate controls;
high-mid boost; high shelf cut
s Tube amplifier circuit-only option
s AU/VST, 32-/64-bit
www.overtonedsp.co.uk
AudioThing ValveFilter CM
Vengeance Sound Philta CM
s Dual high- and low-pass filters
s Four slope settings: 12/24/48/96dB
s Resonance and width controls
s Link function and notch mode
s Based on Vengeance’s Philta XL
s AU/VST, 32-/64-bit
www.vengeance-sound.com
s Gorgeous filtering and drive
s Low-pass filter circuit emulation
s Vintage valve saturation section
s Based on Valve Filter VF-1
s Settings randomiser and metering
s AU/VST, 32-/64-bit
www.audiothing.net
plugins / download <
DYNAMICS
MULTI
EFFECTS
ANALYSIS
Unfiltered Audio G8 CM
Toneboosters Barricade CM
s Intelligent mastering-grade limiter
s Dynamic response controls
s Stereo options and versatile metering
s Based on the full Barricade
s AU/VST, 32-/64-bit
www.toneboosters.com
s Get tight dynamics or creative effects
s Includes advanced gating controls
s Real-time waveform display
s Use MIDI as a trigger or output
s AU/VST, 32-/64-bit
www.unfilteredaudio.com
Blue Cat Audio
FreqAnalyst CM
Subsonic Labs Wolfram CM
s Pitchshifting, distortion, phaseshifting, panning, delay and filter
s Flexible modulation
s AU/VST, 32-/64-bit
www.subsoniclabs.com
s Pro-quality, feature-packed analyser
s Numerous customisation options
s Based on Blue Cat’s full FreqAnalyst
s AU/VST, 32-/64-bit
s RTAS 32-bit
www.bluecataudio.com
HoRNet Fat-FET
SKnote Snap
s FET-style compressor
s Similar to classic 1176LN Peak Limiter
s Ultra-fast attack as low as 0.02ms.
s Based on HoRNet MultiComp
s AU/VST, 32-/64-bit
www.hornetplugins.com
s Boost or tame transient brightness
s Brighten or dull a sound’s sustain
s Uses two intelligently linked filters
s Not based on any existing plugin
s AU/VST, 32-/64-bit
www.sknote.it
Inear Display Eurydice CM
s Buffer override/repeat, delay,
bitcrusher and filter with modulation
s Custom signal routing
s AU/VST, 32-/64-bit
www.ineardisplay.com
Photosounder Spiral CM
s Musical, note-based spectral analysis
s Useful for figuring out notes in audio
s Based on the full Spiral plugin
s AU/VST/AAX, 32-/64-bit
www.photosounder.com
OTHER
HoRNet DrumShaper
eaReckon CM-COMP 87
s Slick, punchy compressor
s Mix knob for parallel compression
s Limiter to keep the output in check
s Clear VU- and LED-style metering
s Based on eaReckon’s SD-COMP 87
s AU/VST, 32-/64-bit
www.eareckon.com
s Instant EQ & compression for drums
s Dial in effect amount and in/out gain
s 7 algorithms for kick, snare, loops, etc
s Based on HoRNet TrackShaper
s AU/VST, 32-/64-bit
www.hornetplugins.com
Joey Sturgis Tones & Boz
Digital Labs SideWidener
audioD3CK SunRuys CM
LVC-Audio Transector CM
Vengeance-Sound Scope
s Spectrum view for frequency analysis
s Oscilloscope for waveform monitoring
s Stereo phase and level metering
s Tons of advanced analysis options
s AU/VST/AAX, 32-/64-bit
www.vengeance-sound.com
s Characterful bus compressor
s Dry/wet mix and blend controls
s Advanced options for serial tweakers
s Based on the full SunRuys plugin
s AU/VST/RTAS/AAX, 32-/64-bit
audio.d3ck.net
s Transient tweaking and saturation
s Define and process envelope stages
s Useful metering/display functions
s Mix control for parallel processing
s AU/VST, 32-/64-bit
www.lvcaudio.com
s Add stereo width to mono sounds!
s Signal retains mono compatibility
s Goniometer for stereo visualisation
s 3 widening modes, plus Width & Tone
s AU/VST/AAX/RTAS, 32-/64-bit
www.joeysturgistones.com
www.bozdigitallabs.com
Nyrv Agent CM
Toneboosters Sibalance CM
s Pro-quality de-esser and de-harsher
s Four modes for different use cases
s Select reduction and Attack amounts
s Based on the full TB Sibalance plugin
s AU/VST, 32-/64-bit
www.toneboosters.com
s Create custom effects chains
s Host your VST/AU plugins
s Design your own interface
s Based on the full Agent plugin
s AU/VST/AAX, 32-/64-bit
www.nyrvsystems.com
March 2016 / COMPUTER MUSIC / 19
> download /
plugins
PLUGINS GUIDE
EFFECTS
DOWNLOAD
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
Continued
DELAY/
REVERB
DISTORTION/ SATURATION
Cableguys Waveshaper CM
s Graphically editable distortion curves
s Design curves by dragging nodes
s Syncable input vs output oscilloscope
s Not based on an existing plugin
s AU/VST, 32-/64-bit
www.cableguys.de
Audio Assault
GrindMachine CM
s Five amp and ten cab emulations
s Three-band EQ plus depth and presence
s Djentbox for tightening low tunings
s Based on the full GrindMachine
s AU/VST, 32-/64-bit
www.audioassault.com
Audio Assault
BassAmp CM
s Inspired by Ampeg bass gear
s Gain and Deep controls for added drive
s Three-band EQ plus Mix blend
s Choice of two cabinets
s Not based on any existing plugin
s AU/VST, 32-/64-bit
www.audioassault.com
LiquidSonics Reverberate CM
s Convolution reverb
s A selection of real-world presets
s Import your own impulse response
s Based on the full Reverberate plugin
s AU/VST, 32-/64-bit
www.liquidsonics.com
Audiffex STA Enhancer CM
s New for v1.5: CPU optimised, tube
mode soft switch, new interface
s Valve-style signal exciter/enhancer
s Separate low/high enhancement
s Choose from five tube circuitry modes
s AU/VST, 32-/64-bit
www.audiffex.com
Acon Digital CM Verb
s Simple-but-versatile operation
s Five modes: hall, plate, studio, etc
s Built-in high- and low-pass filters
s Based on Acon Digital’s Verberate
s AU/VST, 32-/64-bit
www.acondigital.com
Sonimus Satson CM
s Classic mixer channel emulation
s Subtle warming saturation
s Gentle, musical high/low filters
s AU/VST, 32-/64-bit
dsp.sonimus.com
Kuassa PreMix CM
s Subtle saturation to screaming drive
s Three-band Baxandall sweetening EQ
s A/B comparison function
s Not based on an existing plugin
s AU/VST, 32-/64-bit
www.kuassa.com
Rop Papen RP-Distort CM
s Five crunchy distortion algorithms
s EQ, dynamics, widener + modulation
s Filter and parallel processing controls
s AU/VST, 32-/64-bit
www.robpapen.com
VIDEO GUIDES
Lindell Plugins 6X-500 CM
s Classic preamp emulation with EQ
s High and low boosts for musical tone
s Modelled on Lindell’s 6X-500
hardware preamp/EQ
s Based on the full 6X-500 and
ChannelX plugin
s AU/VST, 32-/64-bit
www.lindellplugins.com
Tek’it Audio CrossDr CM
s Three independent bands of drive
s Drive, Warp, Crush and Clip signals
s Per-band Balance and Level
s AU/VST, 32-/64-bit
www.tekit-audio.com
20 / COMPUTER MUSIC / March 2016
Our
Plugins Getting
Started videos are also on
YouTube. Head to the below
address to check them out:
bit.ly/CMpluginsJan16
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> news
NEW RELEASES • COMMENT • INDUSTRY HAPPENINGS
New releases from Tracktion
Company unveils Tracktion 7 DAW, a VST/AU synth, and a tube-spangled interface
The folks at Tracktion Software
Corporation must have been cackling
maniacally for the last few months,
anticipating the moment they would hit
an unexpecting public with three massive
music-making bombshells.
First came Biotek, a new software
instrument that marries synthesis with
in-built samples. Specifically, you get four
oscillators, piped through the usual
subtractive framework of filters, LFOs,
envelopes and modulation. What’s special
about Biotek, though, are its oscillators, their
sounds sourced from “natural, urban and
mechanical environments”, and that
unmissable X/Y pad at the instrument’s
centre, which should provide an extra
creative kick. Biotek is $150, out now, and
works in VST/AU/AAX/Linux formats.
Tracktion 7 sees a new update to the
Tracktion 7 (top) was a given, but Biotek (left)
long-running DAW, with a tweaked interface and Copper Reference (right) much less so
and creativity-oriented new features. More
of a ‘workflow and interface’ update, v7
introduces multiple (and synchronised)
and more accessible. Prices start at $60.
browsers that should make auditioning and
Finally, Tracktion are taking a running
selecting elements of a project easier, Clip
jump at the audio interface market with
Layers add new ways to edit material, and
Copper Reference. Aimed at the ultra-high
the underlying engine has been revamped.
end of the two-channel interface market,
Version 7 brings Tracktion’s look more into
and furnished with two vacuum tubes, the
line with its competitors – it’s now slicker
Copper Reference can handle sample rates
up to 192kHz (including 176.4kHz), connects
via the new USB-C standard, and is handcrafted using high-quality components.
Price is TBC at the time of writing.
We’ll let you know how these intriguing
new releases fare in future issues!
READ MORE www.tracktion.com
Celemony Melodyne 4
For version 4, Melodyne goes beyond ‘mere’
manipulation of individual notes within chords,
giving you access to note harmonics, allowing
both corrective and creative sculpting.
Melodyne’s Direct Note Access technology can
now be used on multiple tracks, and those tracks’
notes edited simultaneously from one note editor
area. Elsewhere, there’s now tempo detection,
with Melodyne deriving a click from recorded
material. To get all this, you’ll need the full Studio
version (€699 or a €149 upgrade). Other versions
are available with prices starting at €99.
Melodyne’s spectral editing power may make a powerful new tool for sound design
24 / COMPUTER MUSIC / March 2016
READ MORE bit.ly/Melodyne4info
Trackers &
Demoscene
Could 2016 be a terrific year
for trackers? It’s already
shaping up that way
Version 3 of AudioRealism’s acid bassbox has been launched as a VST/AU plugin
AudioRealism ABL3
Yes, the Swedish company’s vaunted
recreation of the Roland TB-303 (first teased
about two years ago) has been available as a
Reason Rack Extension for some time, but
now that it’s been released as a VST/AU
plugin, we feel it can be considered properly
‘out’. Bass Line 3 boasts a “massively
improved 303 emulation engine” which can
be customised by the user, a resizable
interface, Classic and Pattern Edit views, a
randomiser, and a cool new sticker.
Waves Element 2
Three years ago, Waves released version 1 of
this synth, taking their first foray into the
world of virtual instruments. We checked it
out in
189 (7/10), praising its sound and
calling it “an excellent workaday synth”, but
Element didn’t make a huge impression on us at our
first meeting – can v2 garner more respect?
ABL3 integrates with your DAW to
provide a MIDI step record function, and
synchronises better with the host DAW than
version 2. The new Wave Analyzer claims to
transform input audio into a corresponding
pattern, allowing you to take the output of
another 303-emulator, a real TB-303, or a
recording of one you love, and recreate the
pattern instantly in ABL3. The plugin costs
£78, or £41 for an upgrade. The Rack
Extension incarnation is €69.
READ MORE www.audiorealism.se
finding ourselves wanting a little more
for the money. “The real question isn’t
whether it’s any good, but whether you
really need it,” we reckoned.
Element 2’s improvements mostly
apply to its algorithms and sound, which
were already more than up to scratch to
begin with. The synth’s fundamental
architecture appears unchanged, so users
of the original can expect to experience
no learning curve.
Perhaps most interestingly, users of
Element 2 can flip a switch in the corner to
switch over to Element v1, retaining the
sounds and functions of any patches that
have previously been made using the
original synth.
Element 2 (VST/AU/AAX) is now available
for $119 – a price far lower than the original
full price of version 1 – and can be upgraded
at a price depending on the status of
existing users’ Waves Upgrade Plan.
READ MORE www.waves.com
Rob Papen Prisma
We’ve grown to expect new goodies from
Rob Papen at the NAMM show, so what’s the
Dutch synth master got for us this time? A
new synth? More effects? No, actually.
Prisma (VST/AU/AAX) is a free rack system
for Rob Papen sound-makers. Users can
combine up to four of Papen’s virtual
instruments into a single sound source,
setting up keysplits and velocity sensitivity
to form coherent patches. You can’t load in
Rob Papen effects plugins, which is a touch
disappointing, although there are four
effects onboard. It should be out in March,
and it’s available for free.
READ MORE www.robpapen.com
Users of Rob Papen’s instruments will soon be
able to tweak them from one interface – for free!
With a new year to settle into, it’s time to
take a look at the state of play of trackers
in 2016. While the old favourite and original
third-generation tracker Buzz ticked along
nicely in 2015, its Linux clone, Buzztrax, has
already seen an update in early January,
with big-fixes galore. buzztrax.org.
Our favourite modern and legacy format
music-player for Windows, XMPlay, has also
seen a new update, with HLS streaming and
large file support among other things. With
the ability to play anything from FLAC to
MODs to OpenMPT files, this is the player
you should be seen to be listening to
specialised formats in. un4seen.com.
“We’re still waiting for the
gold release of Renoise 3.1
– maybe next month”
Meanwhile, we’re still waiting for the
‘Gold’ release of Renoise 3.1 – maybe next
month? Here’s to a great year in tracking.
DEMO OF THE MONTH
We Were @ by Oxygene
We’re often blown away by great demos
made to a limited filesize – amounts of data
smaller than a typical text file that can
create some of the most marvelous images
and sounds we’ve seen since… well, last
issue’s column. But we also have a soft spot
for demos created for systems that are in
themselves limiting, and We Were @ is one.
Created by Oxygene for the Atari STe and
its miserly Motorola 68000 chip,
We Were @ was the winner at the recent
25th anniversary STNICCC party in the
Netherlands. It may not look so impressive
by today’s standards, but watching this
through our 1989 goggles, each screen is a
testament to the abilities of Oxygene’s
genius coder, Leonard, who can squeeze
every last clock cycle of power from the
STe’s machinery. With music from Clawz
rolling alongside it. bit.ly/WeWereAt.
We Were @ pushes the Atari STe to the very limits
March 2016 / COMPUTER MUSIC / 25
> news
Get with the
programmers
We have a resounding chat with the developer who’s
taking convolution reverb to the next level
LiquidSonics
What’s your background in music and
in programming?
MH “I used to be a trance producer – back in
its heyday – and had a few remixes on vinyl
under my belt by the time I started studying
Computer Systems Engineering at university.
Convolution reverb had just touched down on
the Mac, and my tutor agreed I’d impress him
if I could make his office sound like a local
cathedral in real-time on a PC. I used some of
my own music gear to take some IRs from a
local cathedral, wrote a basic convolution
plugin over the Christmas break, and
eventually got that smile from my tutor.”
Matthew Hill
Reverberate 2 features Fusion-IR
technology. How is a ‘fusion’ impulse
response better than a normal IR file?
MH “A single impulse response can only capture the state of a reverb
at a single point in time, but a great reverb algorithm will never produce
the same response twice. A Fusion-IR is sampled differently, and multiple
times, so you get lots of snapshots of the source reverb in different states
that can be processed and modulated before fusing them together, hence
the name. This brings back that rich, dynamic reverb that sits perfectly in
the mix, retaining much more character of the source than is possible
with static convolution. Fusion-IR offers early and late components –
gaining control over these two crucial elements is key to how reverb sits
in a mix.”
Is it possible for somebody to capture their own Fusion IRs? How is
the process different from normal IR sampling?
MH “It is absolutely possible, but it’s more complex than traditional
sampling approaches. Not only is it more time consuming, but getting a
great signal-to-noise ratio is more challenging. I’m working behind the
scenes with some people to bring more Fusion-IRs to market, and I intend
to produce some tools that will make this process much easier for people
that want to capture their own
gear in future.”
“The mobile music scene
can feel like my early
days using a basic DAW”
You took convolution
reverb onto iOS with your
Mobile Convolution app – where
would you like to see the iOS
music-making scene go now?
MH “To me, the mobile music scene can feel like my early days using a
basic DAW with a rack of outboard gear. It’s exciting, but it’s an unrefined,
raw experience because preset integration and user interface
management is still quite poor. In iOS 9, Apple introduced a new Audio Unit
specification that will give hosts good preset management capabilities and
a way to embed a plugin interface – just like on desktop. Standardisation
like this is what’s needed to take the capabilities of mobile music apps to
the next level and to really fulfil the mobile music scene’s potential.”
What’s next from LiquidSonics?
MH “There’s been a lot of great user feedback about Reverberate 2 and
Fusion-IR, along with some really strong ideas for the next version. I’m
working on these but also looking at how to use the core algorithms
behind Fusion-IR with some novel techniques to develop something
completely new. My notebook is currently full of system diagrams, and I
can’t wait to be the first to hear what it sounds like!”
URL www.liquidsonics.com
26 / COMPUTER MUSIC / March 2016
UAD 8.5
New UAD software is out now for users of
Universal Audio’s DSP system. First up, the
Marshall JMP 2203 (pictured) sees Softube
model the legendary 1975 guitar
amp. It’s £149, though a discount
is available for anyone who owns
another UAD Marshall plugin.
Next, Sonnox’s Envolution
(already available for £170 as a VST/AU
plugin) joins the platform for £189. Finally,
Brainworx’ bx_digital mastering equaliser
reaches v3 (£229 or $49 to upgrade), with
updates to its filters, the addition of a
Dynamic EQ, and newly boosted mid/side
processing with a proportional Q mode.
READ MORE www.uaudio.com
Virharmonic
Bohemian Violin
In creating their new ROMpler, Virharmonic
claim to have done something new. Instead
of aiming for a mere virtual
instrument, they’ve created a “virtual
performer”, which responds to MIDI
data and acts accordingly, apparently
outputting an expressive
performance without the necessity
for in-depth programming and
keyswitches. Part of the new Soul Capture
series, Bohemian Violin is an ongoing
development that will increase in price while
getting larger, but once you do buy it,
upgrades will be free. It’s kicking off at €149,
and is powered by the free UVI Workstation.
READ MORE www.virharmonic.com
PSP Audioware 2445
PSP Audioware’s take on the classic EMT 244
and 245 reverb hardware puts both
processors into one plugin,
allowing you to use the
qualities of one or both at the
same time. It wouldn’t be a PSP
plugin without some mean
tweaks to the original concepts, though, and
for 2445, they’ve added a couple of shorter
reverb times, input and output Gain
controls, plus a dry/wet Mix level control.
We’ll be putting it through its paces in a
future issue, but for anyone wishing to dive
right in, PSP2445 is out now in VST/AU/AAX
formats, for $156.
READ MORE www.pspaudioware.com
Synapse Audio Dune 2.5
For this free point update, Dune 2 (10/10,
207) gets endowed with some extra
analogue flavour. A new Analogue switch in
the synth’s Filter/Amplitude Envelopes
panel switches those two components
into a circuit-emulated mode with a
hardware-like response. A new filter
type (Expander, available in 12dB and
24dB modes) employs oversampling
for better resolution in its processing, and
boasts better high-frequency resonance.
Elsewhere, Dune 2.5 has additional preset
patches, and is now available as an AAX
plugin for Pro Tools users, in addition to the
existing VST/AU formats.
READ MORE www.synapse-audio.com
news <
years
back
Decimort returns with a new interface and deeper feature-set
D16 Group Decimort 2
Hot on the heels of D16’s first v2 SilverLine effect, Devastor 2, this
legendary bitcrusher has now received its first major update. There’s
a sharp new interface and many more controls with which to control
how exactly those bits are crushed. You get your hands on two
anti-aliasing filters, which can be used to reduce or remove the
characteristic aliasing artifacts of resampling; plus a Jitter control to
add random variation to the plugin’s resampling intervals. In addition,
there’s a Dither control (which makes the bit-depth reduction effect
less harsh by adding low-level noise), and some DC offset action via
the DC Shift switch. The new version of the plugin also does away
with the dual mono interface approach of the previous version.
Decimort 2 is available now for €39.
READ MORE www.d16.pl
Ins & outs
DECK THE HALLS
High street retailer HMV
claim they sold a turntable
every minute in the week
leading up Christmas. And then, at
CES, Panasonic announced that
they’re reviving the iconic Technics
SL-1200 series. If vinyl wasn’t back
before, it certainly is now.
MATERIAL GRRR...
If you’ve ever suffered an on-stage
technical mishap, don’t worry – it
even happens to the biggest stars.
Madonna’s recent show at the
Manchester Arena was delayed when
her video system crashed prior to
the performance, and the back-up
file turned out to be corrupted.
YELLOW SUBMA-STREAM
OK, you probably own or are very
familiar with a lot of The Beatles’
back catalogue already, but it’s
still nice to know that we can now
listen to the whole lot on various
streaming services. Whatever
your musical persuasion, the Fab
Four can teach you something.
SPEAKER SHOCKER
We all want our mixes to
sound great through a
high-end monitoring system,
em but a
recent survey reported that more
than half of us now listen to music
through built-in laptop speakers.
Good luck making your mixdowns
sound great coming out of those.
GROOVY GAME
We’ve had Guitar Hero, so
what about Programming
Hero? OK, it might not have
the same ring to it, but we were
still quite taken with Roland’s free
TR-REC app, which requires you to
make beats using a TR-style
interface within a set time limit.
YOU’RE SO VAIN
Why do some people record entire
gigs on their smartphones?
Research by mobiles.co.uk indicates
that only 9% do so with the intention
of using the footage to promote the
act they’re watching, while 22%
admit that their primary concern is
getting ‘Likes’ on social media.
We came up against
obsolescence time and
time again in
97
If we recall correctly, we were still getting
the odd letter in 2006 asking why we
didn’t offer anything for users of the Atari
ST (a computer that, let’s not forget, was
discontinued in 1993). Well, we shoved it
right up the built-in MIDI ports of users of
said machine in 97, as we showed you
how to emulate the ST on your PC.
In the News section, we covered Native
Instruments’ Kore, the company’s curious
plugin manager/hardware controller. The
product itself never quite took off, and
eventually got ditched altogether. NI
“Our Burning Question
was whether FireWire
was on the way out”
never really gave up on its concept,
though, returning to it with the Komplete
Kontrol S Series keyboards in 2014.
That month, our Burning Question was
whether FireWire was on the way out,
with Apple having dropped it from their
iPod range. It was eventually replaced by
Thunderbolt on the company’s Mac
hardware, but it was only in 2011 that the
interface standard started being omitted.
We also asked, ‘Whatever happened to
MIDI?’ The short answer being: ‘Not much
– everyone still uses it.’ There was rather
more to our tutorial than that, of course.
10 years on, and MIDI is still yet to be
succeeded – long may it reign!
Our explosive cover feature in March 2006
showed guitarists how to plug in to their plugins
March 2016 / COMPUTER MUSIC / 27
> news
freeware news
What do you want for nothing? How about an entire music-making host
platform? We’ve got that and more – plus, a developer gives away the store!
j3ffhubb
MusiKernel 2
A brand new development
platform for music production
from the man behind PyDAW
Developer Jeff Hubbard is no stranger
to controversy. His excellent PyDAW
production package caused quite an
uproar in the Linux music community,
due in part to the developer’s insistence
on flying in the face of many ensconced
Linux standards. Sadly, this means that
PyDAW itself may never have been given
a fair shake – and that’s a shame, as it was
shaping up rather nicely.
The maverick approach and attitude that
were infused in PyDAW can now be seen in
MusiKernel, a cross-platform (PC, Mac and
Linux), free and open source suite of music
production tools. MusiKernel contains all
On the surface,
MusiKernel looks
like any other DAW,
but there are a lot of
innovative features
lurking within
you need to create full productions:
audio and MIDI sequencing is here, along
with a collection of synthesisers, an
SFZ-compatible sampler, and lots of effects –
the coolest of which, Modulex, is a modular
effect that can itself host other effects.
Even mixing is modular, with each mixer
channel taking the form of an effect plugin.
Routing is comprehensive, with every track
capable of being sent to as many as four
other tracks. Up to ten instrument and
effects plugins can reside in any track,
and each track offers sidechaining
to boot.
The idea here is to present a
development platform that can grow and
evolve, and given that the source code is
available to all, anyone can add their own
ideas to it or refine the existing ones. It’s still
early days, but MusiKernel is already an
impressive package.
bit.ly/MusiKernel2
MaxSynths
All synths and effects
kiloHearts
Snapins
HOFA
4U+ BlindTest
MaxSynths, purveyor of
many a Windows-based
instrument and effect,
has recently announced
that he’s unable to
continue support for his
sundry plugins and has declared them freely
available to all. That’s half a dozen synths,
ranging from virtual analogue to sample-based
stuff. There’s also a trio of drum synths and scads
of effects – enough to keep even the most
productive Windows-based muso busy for years
to come. Be nice and donate a few bucks.
www.maxsynths.com
kiloHearts have introduced
the concept of snapin effects
with their recently released
Multipass band-splitter
plugin, reviewed on p106.
Multipass splits the incoming
signal into five frequency
bands, each independently processed using
effects from the kiloHearts snapins range. Five
such effects are available for free and also work
as VST and AU plugins. They comprise Delay,
Chorus, Gain, Stereo and Limiter, and are all
simple, low-overhead and useful.
kilohearts.com
Comparing audio
quality is tricky – we
bring a lot of baggage
to the task. Between our
own preconceptions and
the hype surrounding a
product, it’s certainly never easy to accurately
compare two or more pieces of software. Tests in
which the listener doesn’t know which one is
being presented are far more reliable, and this
free version of HOFA’s commercial plugin enables
you to blindly test plugins in order to make better
choices between them.
hofa-plugins.de
CLASSIC FREE SOFTWARE
WOLFGANG PALM PLEX 2
PPG head honcho Wolfgang Palm has
gained a lot of attention for his recent trio of
virtual synthesisers, but this isn’t the first
time the wavetable maestro has gone soft.
Plex 2 is the second version of his
“restructuring synthesiser”, first released
with Steinberg. It splits the sound of preanalysed instruments into four components
28 / COMPUTER MUSIC / March 2016
that can be mixed and matched with other
similarly split sounds. It’s an interesting
idea, and one that would eventually grow
into the much more capable PPG
WaveMapper. Though Plex 2 is no longer
supported, it is still worth a look. It’s
Windows-only, though.
plex.hermannseib.com
ISSUE227 MARCH 2016
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The Danish DJ/producer behind the huge 2014
hit Soldiers couldn’t live without this little lot
XFER RECORDS SERUM
A lot of people are very happy with the
native Logic synths, but I just find them a bit
hard to work with. All of my main synths are
third-party, and Serum is probably the most
important at the moment. It’s like a
combination of subtractive and FM
synthesis, uniting the best of both worlds to
create sounds that really stand out.
NATIVE INSTRUMENTS RAZOR
Razor is a strange one. Even though it’s one
of my favourite synths, I don’t actually use it
that often, purely because it’s kinda tricky to
find what you’re after – but when you do find
something, you can be sure it will be a sound
that can carry the whole weight of a track.
It’s one of those synths that can turn a good
track into a great track.
WAVES MANNY MARROQUIN
SIGNATURE SERIES
I used to use Waves a lot, then I switched
over to the FabFilter suite and now I find
myself working with some of the smartly
designed Waves signatures series. The
Delay and the EQ are just fantastic. There
are people who complain about the cost of
production plugins, but compared with
getting a quality hardware compressor or
delay, two or three hundred euros doesn’t
seem too bad!
“All of my main synths
are third-party”
SLATE DIGITAL VIRTUAL MIX RACK
A couple of years back, I discovered the FG-X
Mastering Processor and that got me
completely hooked on Slate Digital; the
Virtual Mix Rack is now my main mastering
plugin. The emulations – FETs, SSL and what
have you – are incredible, but what I really
love about the VMR is that it makes you use
your ears and you always end up with a
better mix.
Mike’s new single, Burn The Maps, is out now on Megaton
www.mikehawkins.nu
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March 2016 / COMPUTER MUSIC / 31
> make music now / synth sound design
SYNTH
SOUND
DESIGN
Level up your synth skills
and build your best patches
ever as we put you through
a boot camp of bass, lead,
pad and FX design
36 / COMPUTER MUSIC / March 2016
synth sound design / make music now <
A
DOWNLOAD
Get the videos and tutorial
files on your PC/Mac at
vault.computermusic.co.uk
When it comes to electronic music
production, the synthesiser is
undoubtedly one of the more complicated
devices to wrap your head around – but,
once mastered, it will become the most
powerful weapon at your disposal. Once
you can understand and logically operate a
virtual instrument’s oscillators, envelopes,
filters, modulation routing and other
features, you’ll be able to replicate all
manner of sounds heard in your favourite
productions, and even go on to craft
completely unique timbres that will give
your music the much-needed edge over
other artists that rely on ready-rolled
presets or samples. Plus, there’s nothing
more satisfying than generating a cool
sound yourself from scratch! Make no
mistake: master the art of synthesiser
programming, and you’ll unlock an infinite
universe of sonic creativity – you’ll have a
whole heap of fun in the process too!
But there’s so much to take in when it
comes to synthesis, it’s often hard to know
where to start. You may have seen selfproclaimed synth masters roll a patch from
scratch and thought, ‘How did they do that?’
Well, even the most ardent synth-head was
once just like you, and even they are still
D
S
R
learning their craft – the limitless possibilities
of synthesis can never be fully exhausted!
So throughout the following tutorials, we’re
going to give you the tools and the know-how
to go further in your synth journey. Our team
of expert producers will show you how to
sharpen your synthesiser programming skills
and become better at making sounds from
scratch. We’ll be covering all the main bases of
synth patch design by exploring the most
common types of sounds, from warm, rich
basses and lush, textured pads on through to
silky-smooth leads and eccentric FX design.
There’s something for everyone, whether
you’re an old hand or a complete newbie.
To ensure no one’s left out, we’ll be using a
spread of the most widely used synths, from
established classics like NI’s Massive and FM8,
to modern-day hits like FXpansion’s Strobe2
and Xfer’s Serum – and of course, the amazing
free synths you get with
, such as Synapse
Audio’s Dune CM and this issue’s great new
freebie, Klevgränd’s Enkl CM.
Finally, be sure to grab the videos and
Tutorial Files at vault.computermusic.co.uk,
where you’ll find audio examples and preset
files to help you follow along with the tutorials.
Now, get those oscillators warmed up as we
hand you the keys to synth city!
March 2016 / COMPUTER MUSIC / 37
> make music now / synth sound design
BASS
LAB
When it comes to making big, bad bass
sounds, soft synths offer a degree of
precision and flexibility that can’t be beaten.
Although some people will always claim to
prefer the sound of analogue bass tones, it’s
the difference between analogue hardware
and the best virtual analogue software synths
has become so small that it’s more a matter of
taste than whether one is “better” than the
other. And of course, soft synths offer far more
in the way of sound generating and shaping
features than their physical rivals.
The downside of the soft synth’s enormous
power is that it can be tempting to use every bell
and whistle just for the sake of it. This can work
well when designing mid-range sounds, which
often benefit from lots of movement and timbral
modulation, but bass sounds usually work best
when they’re simple.
Consider Roland’s legendary TR-808 bass
drum sound: made with a single sine oscillator,
it’s not what you’d call ‘rich’ or ‘complicated’; it
just moves quickly from the mids to the very
lowest of lows, creating a deep, punchy sound.
Indeed, it’s this simplicity that’s its strength: the
lack of extraneous elements gives its pitch
modulation room to be heard, and makes it easy
to fit into a mix.
Although mid-range ‘bass’ elements are
common in many styles of music, these are often
really mid-range sounds with a simple, solid bass
sound underneath. Because bass synths are
usually the lowest-pitched element in a track,
they – along with the drums – are what give the
music its weight and percussive impact. As such,
it’s vital to make them as solid as possible, using
the mids and highs to add articulation.
Although bass sounds benefit from being
straightforward, that’s not to say that
programming them is always easy – quite the
opposite, in fact. Because of their basic nature,
the smallest changes to envelope times, oscillator
levels and filter cutoff frequencies can have a big
impact on the results. In the following tutorials,
we’ll show you how to make speaker-rattling bass
patches ideal for house, garage and DnB tracks,
and create your own expressive bass synth with
Reaktor 6’s new Blocks.
A
38 / COMPUTER MUSIC / March 2016
D
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synth sound design / make music now <
> Step by step
1
4
1. Tech bass with Aalto CM
Aalto CM is tailor-made for creating
fat, analogue-style sounds, and its
frequency modulation (FM) capabilities
are well suited for punchy, techy bass
sounds. Load the synth onto a MIDI track
in your DAW, and begin by turning
Envelope 1’s Sustain up to 1.00. As
Envelope 1 controls the synth’s volume
level, this ensures the patch will have a
loud, solid body.
We now have a basic FM bass tone.
The Ratio dial in the Complex
Oscillator panel controls the pitch of the
FM oscillator relative to the note input. If
you sweep it around as you play, you’ll
hear that its value has a dramatic effect on
the timbre of the patch. Set the Ratio dial
to 2.000.
2
We’re going to use Envelope 2 to
control the level of the Complex
Oscillator’s Mod Index (FM amount) over
time. To set this routing up, drag from
Envelope 2’s output node to the Mod
Index’s input. This won’t have any effect
on the sound until we turn up the
modulation level: drag up on the input to
set the modulation level to between 1 and
2 o’clock.
5
This gives us a tasteful take on a
typical deep house bass patch, but
let’s take the sound a bit further. Try
turning up the Timbre dial as you play.
The higher the dial goes, the richer the
patch’s harmonics become, and the
rougher it sounds. At a constant value this
gives us a dirty, hardcore rave-style sound,
but we’re after something less brutal.
3
The current settings give us
something akin to a muted bass guitar
sound. As Envelope 2’s Decay and
Release times are extremely short, we can
only hear the effect of the frequency
modulation right at the very start of the
sound. Turn the Release up to around
0.80, so that the change in timbre caused
by the frequency modulation happens
more slowly.
6
Return the Timbre dial to 0.00, then
drag from Envelope 2’s output to the
Timbre’s input. This routing is extremely
sensitive, so turn the modulation level up
by a small amount. This provides just
enough roughness to give the bass a bit
more character than a generic deep house
bass, without introducing too much in the
way of mid-range filth.
POWER TIP
>Clean space
7
Play the patch, and turn the Reverb
dial in the Output panel up as you do
so. You’ll hear that this effect works well
with the patch, sustaining the mids and
highs to create an intense atmosphere! A
trick often used in techier forms of house
music is increasing the reverb send level
at the end of a section, and we can do this
by simply automating the Reverb dial.
8
Keep the Reverb level very low for the
first two bars, and gradually crank it
up over the last two bars to increase the
intensity of the sound before it drops back
to a more minimal feel when it loops
around to the first bar. If you look at the
sound in a spectral analyser such as VPS
Scope CM, you’ll see that the fundamental
frequency isn’t as loud as some of the mid
tones. This can be remedied, if needed, by
boosting the lows with low-shelf EQ.
Aalto CM’s built-in reverb is a good
multi-purpose effect that doesn’t
muddy up the low end too much.
However, we can get an even
cleaner sound if we use a separate
reverb effect on a send instead,
then use a high-pass filter to
attenuate any low-end that
conflicts with the impact and
solidity of your bass sound. If
you’re after a still less intrusive
reverb, you can compress the
post-reverb signal using the dry
signal and/or your track’s kick as a
sidechain source.
March 2016 / COMPUTER MUSIC / 39
> make music now / synth sound design
> Step by step
1
2. Expressive, analogue-style bass with Reaktor 6
Reaktor 6’s new Blocks feature is ideal
for making big, phat basses. Load
Reaktor up on a MIDI track in your DAW, or
run the standalone application. Click the
Edit button to open Reaktor’s library in
the Browser on the left. Select the Library
tab, and click the Reaktor Blocks folder.
Double-click the Blocks New ensemble in
the lower section of the Browser to open
it, then click Edit again.
2
This preset ensemble sets everything
up so we can crack on with making
our own synth. If the Reaktor Blocks
folder isn’t open in the Browser, click it,
then click the Bento Box folder to open
that, too. Drag OSC-Oscillator from the
lower section of the Browser onto the
Structure view, then drag from the Util
Note In’s Pitch output to the Bento Box
OSC’s Pitch input.
4
Before we route the audio signal to
Reaktor’s output, let’s filter it. Drag
FLT-SVF onto the Structure, and add two
more ADSRs. Double-click the already
connected ADSR’s name to edit it, and
name it Amp Env. Name the two new
ADSRs Filter Env A and Filter Env B.
Connect Filter Env A’s Out to Bento Box
SVF’s Mod A input, and Filter Env B’s Out
to Bento Box SVF’s Mod B input.
7
Turn the SVF’s Cutoff all the way
down, then set its Mod A modulation
amount to maximum and Mod B
modulation amount to minimum. Turn
both Filter Env A and Filter Env B’s Sustain
knobs all the way down. We can now
create some relatively complex cutoff
movements by adjusting the Attack and
Decay times of Filter Env A and B.
3
We need to make an amplitude
envelope, so drag AMP-VCA and
MOD-ADSR Envelope onto the Structure
view. Connect the Util Note In’s Gate
output to the Bento Box ADSR’s Gate
input, then connect the Bento Box ADSR’s
Output to the Bento Box VCA’s Mod A
input. Next, connect the Bento Box OSC’s
Out to the Bento Box VCA’s In.
5
Connect Util Note In’s Gate output to
both Filter Env A and B’s Gate inputs,
then connect the Bento Box VCA’s Out to
the Bento Box SVF’s In. Connect the Bento
Box SVF’s Out to the Util Level Stereo’s In
L and In R. Everything is now connected,
but you won’t be able to hear anything
because the VCA’s Level is set to zero, and
the Amp Env isn’t modulating it yet.
8
Filter Env A controls the positive
modulation on the envelope, while
Filter Env B controls the negative. By
controlling the SVF’s Cutoff and the
amount by which it’s modulated by the
two envelopes, you can create an
expressive array of articulations. Finally, to
give the sound more bite, turn the
Resonance up to 12 o’clock or so.
POWER TIP
>One for the CV
Despite its analogue-style phatness,
the bass sound we’re creating in this
walkthrough is very clean. If you’re
after something a little grittier, you’ll
be pleased to learn that you can use
the Bento Box’s CV Processor as a
quick and dirty waveshaper. Route
the output of the Filter into the CV
Processor, then the output of the CV
Processor to the Util Level Stereo’s
input. Turn the CV Processor’s Level
all the way up, and try playing
around with the various
Rectification/Clipping modes (the
six-pronged button on the right of
the interface) and Offset levels to
create all kinds of grunge and grime.
6
In the Panel view, click the A button at
the top of the Bento Box VCA (you
may need to scroll around to find it), then
drag the modulation amount fader to the
right of the Level knob all the way up.
Now, you should hear a pure sine tone
when you trigger Reaktor via MIDI. Drag
up on the Osc module’s waveform knob in
the Panel view to set it to a pulse shape.
40 / COMPUTER MUSIC / March 2016
synth sound design / make music now <
> Step by step
1
Let’s make a rumbling, junglistic bass
with Reveal Sound’s superb Spire
synth. Load it up on a MIDI track in your
DAW and click the Drift button at the
bottom left to disable the analogue-style
Drift function, for a more consistent pitch.
Click Classic in the Wave panel and set the
oscillator type to AMSync, and turn the
Wt Mix control up to maximum.
3
Turn trg1’s horizontal modulation
fader up very slightly to 534 or so, and
you’ll hear the rhythmic movement kick in
as LFO 1 begins to affect the amplitude
modulation frequency. The patch is
coming together, but its amplitude
envelope attack and release times are
very short, resulting in unwanted clicks.
Let’s fix that.
> Step by step
1
Double trouble
3. Rumbling Reese bass with Spire
2
Set the CtrlB knob to 0 to reduce the
amplitude modulation frequency and
smooth out the sound. Modulating the
CtrlB parameter gives us that classic
rumbling Reese sound. Click the Mtrx
button at the bottom of the interface
to bring up Spire’s modulation matrix.
Set Src 1 to LFO 1, and Trg 1 to Osc 1 »
Osc 1 CtrlB.
4
Click the Mtrx button to close the
modulation matrix so you can see Env
1. Env 1 controls the synth’s amplitude
envelope, so turn the Attack and Release
faders up to around 70. At the top of the
interface, click the Mode slot and select
Mono 1 from the list of available
polyphony modes. Finally, turn the SHP
(Shaper) Dry/Wet knob up to 1000 to add
a little grit to the patch.
Bass is an important aspect of
electronic music, but it’s
uncommon to use two bass
sounds simultaneously. This is
because it results in what’s
known as auditory masking,
which makes the affected parts
sound less loud and clear.
However, some tracks, such as
Renegade’s Terrorist
(bit.ly/RenTerr), successfully use
two bass sounds that play
concurrently. This works in the
case of Terrorist because the
secondary bass sound (the bass
stab) is staccato, which helps
alleviate masking in the temporal
domain, and has had its weighty
low end curtained with filtering
or EQ, preventing it from clashing
with the sub-heavy main bass,
which would otherwise cause
frequency masking and/or
phasing issues.
Of course, another way to
prevent auditory masking is to
simply not play two bass sounds
at once; but if that’s not an
option, sidechain compression
can help. Depending on the
sounds that you use (again, it
helps to have sounds with
different types of dynamics),
quickly ducking one bass sound
as another one plays can trick the
ear into thinking that both
sounds are occupying the mix at
the same time, when the reality is
that you’re performing some
cunning audio sleight of hand.
4. Quick bass stabs with Hive
Put u-he Hive onto a MIDI track in your
DAW, and in the Filt 1 panel, set the
Type to Lowpass 24, and turn the Cutoff
all the way down. Hive doesn’t have a
dedicated filter envelope, but below the
Cutoff knob is a hardwired Mod Env
control that sets the amount of Cutoff
modulation by Mod envelope 1 or 2.
2
Turn Mod Env up to 98.00. We want
the modulation envelope to close the
filter quickly, so in the Mod 1 panel, turn
the Sustain down to 0.00 and Decay
down to 37. To give the filter movement
more bite, set the Resonance to 19.00.
3
The bass patch has a little click at the
start, so set the Attack) time in the
Amp 1 panel to 10.00 or so. Click the
Effects button in the central window, then
click the Distort button to activate the
Distortion effect. Turn the Amount up
to around 19.00 to give the patch a
more consistent volume level and slightly
richer harmonics.
March 2016 / COMPUTER MUSIC / 41
> make music now / synth sound design
PAD
WORKSHOP
Generally speaking, a pad is a fullfrequency sustained tone that’s used to fill
up a mix – or ‘pad it out’, as it were. Pads are an
important element of electronic music
production, and over the next few pages, we’re
going to explore how to create rich, full synth
pad sounds using Xfer Records’ cutting-edge
beast, Serum – as well as our very own Dune
CM from synth masters Synapse Audio.
By generating a sound with long attack, decay
and release times, then triggering that sound
using a chord sequence, we can create a dense,
atmospheric tone that responds well to further
processeing such as filters or effects like reverb,
delay, chorus or flanging.
Pad sounds became widespread in the 80s
thanks to the advent of the polyphonic
synthesiser. In contrast to the monophonic
synths that had been available before, polyphonic
models offered at least one oscillator for every
voice of polyphony, allowing the creation of
densely layered chords that could perform a
similar function to a string section or choir.
Whether made using a synth or by sampling a
sustained chord, the pad sound quickly became a
trademark of classic tracks ranging from the Pet
Shop Boys’ hit West End Girls (bit.ly/PSBwegirls)
through to Goldie’s jungle anthem Inner City Life
(bit.ly/GoldieICL), as well as being used in
countless house, trance, techno, DnB and
hardcore tracks.
Fast forward to 2015, and a great-sounding
synth pad is still something we can use to add
depth and feeling to our productions. Indeed, the
options for making unique, lush pad sounds have
never been greater! As well as the multitude of
choices offered as part of most DAW packages,
monster hybrid synths such as Spectrasonics’
Omnisphere 2 allow producers to combine phat,
analogue-derived waveforms with samples of
real-world instruments in order to create unique
and colourful pads. You can even make great
pads without a synth in sight, using sound design
techniques to combine waveforms in a sampler
or twist up recorded vocal material – but that’s a
tutorial for another day, as we’ll be sticking firmly
to synths here!
Now that your appetite’s been suitably
whetted, let’s get stuck into making some lush,
mix-filling pad patches.
A
D
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synth sound design / make music now <
> Step by step
5. Heavenly 80s vocal choir pad with Dune CM
1
Let’s make a choir-esque pad fit for a
moody track straight out of the 80s –
the era when pads ruled the Earth and if
your mix wasn’t piercingly bright and
soaked in digital reverb, you were doing it
wrong. Start a 130bpm project and load
80sBacking.wav and 80sPad.mid onto
audio and MIDI tracks. Load Dune CM on
the latter and select Bank B in the central
panel to initialise it.
4
Increase Osc 1’s Fat knob – which
introduces per-oscillator unison
detune – to 22%. We’ll leave Osc 2’s Fat
control as is, for solidity. We’re going to
use a lot of unison voices, so turn up
Voices in the Patch Settings to the
maximum of 72, so we have plenty with
which to play chords, and turn down the
synth’s Output Volume to 15%, as the
added voices are going to make the sound
substantially louder.
7
We can use the filter’s resonance to
give character and emphasise the
breathiness. Increase Key Track to 100%,
so the filter’s cutoff will move up and
down with the note being played, set
Resonance to 93%, then pull the Cutoff
down until you find the point just above
where the treble starts to become dull –
about 74% does it.
2
Heavy reverb will form a core part of
our pad’s sound, so we should add it
sooner rather than later. Load CM Verb,
and set its Reverb Program to Gold Plate
for a suitably bright and glassy sound. Set
Reverb Time to a lengthy 4.50, and crank
the Reverb Level right up to 3.3dB. Raise
Low Cutoff to 900 and High Cutoff to
9000 to make the reverb even more crisp
and up-front. Who needs subtlety?
5
In the Unison panel, whack Voices up
to 8, and try out the Detune knob to
hear how it affects the sound. Around 8%
works for us, producing a distinct vocal
timbre that’s most obvious in the upper
octaves. When designing your own
patches, carefully experiment with the
number of unison voices and detune
settings, and pay close attention to how
they affect the tone. Turn Spread up to
100% to fill out the stereo field.
8
A touch of filter movement will add
life, making our virtual choir breathe
harder and softer. Set the Filter Envelope
the same as the Amp Envelope, then
increase the Filter’s Env control to 9%.
The filter now comes to rest at a higher
point (because the envelope’s sustain is at
82%), so reduce Filter Cutoff to around
66% to compensate.
3
Dune CM has a number of decidedly
digital-sounding custom waveforms,
and these make excellent pad fodder.
Enable Osc 1 & 2’s Selection option and set
their waveforms to 52 and 54 respectively,
then increase Osc Mix just a touch to 7%,
so we hear only a little of the second
oscillator. Right now, it sounds pretty
unremarkable, but we can use unison
detune to add richness and movement.
6
Right now, we’ve got more of a
standard keys-type sound than a pad,
so set the Amp Envelope’s Attack, Decay,
Sustain and Release to 74%, 78%, 83%
and 62% to make the sound wash slowly
in and out when played. Next, our virtual
choir needs more ‘breath’, and a touch of
noise is ideal for this. Turn up the Noise
Level to just 2%, and set the Noise Colour
to 100%, which restricts the noise to the
upper frequencies.
9
Let’s simulate how a singer might
begin a note slightly flat, sliding up to
the correct pitch. In Mod Matrix 1>12, set
slot 2’s Source to Mod Env, Amount to -1,
and Destination to Osc 1 Semi. Finally,
add Program EQ CM, with Low Boost and
Atten at 5, CPS on 30, KCS at 5kHz, High
Boost at 5, and High Atten at 1. Don’t
forget to switch the EQ on, too!
March 2016 / COMPUTER MUSIC / 43
> make music now / synth sound design
Wavetable synthesis
Invented by PPG founder Wolfgang Palm back in
the late 70s, a wavetable synth uses a digital
wavetable oscillator hosting a choice of preprogrammed waveforms to generate sound,
rather than (or as well as) the conventional
waveforms – sine, triangle, sawtooth, etc – that
you get from an analogue oscillator. Essentially,
this means that a wavetable oscillator can not
only generate the usual synth waveforms you
know and love, but also offers an extensive
palette of raw source tones that can’t be easily
created using other methods of synthesis.
Although wavetable synthesis delivers
interesting enough sounds right out of the gate,
it becomes particularly interesting when you
start using modulation from sources such as
LFOs and envelopes to ‘morph’ between
> Step by step
waveforms, opening up a whole new world of
possibilities for the creation of evolving and
complex sounds.
Classic wavetable synths such as the PPG
Wave were characterised by the aliasing and
quantisation artifacts that could be introduced
when replaying and switching between
waveforms. Nowadays, in addition to
painstaking virtual recreations of classic
“Create totally
unique sounds or
add texture”
wavetable synths from PPG and Waldorf – some
including options for that gritty vintage digital
sound – you can also get your hands on wholly
original offerings including Waves’ Codex, Xfer
Records’ Serum and Native Instruments’ classic
Massive, which offer all the pristine sonics and
control expected of a modern-day instrument.
Some wavetable instruments even allow the
user to design waveforms from scratch or by
importing audio files – a great way to create
totally unique sounds or add texture to more
traditional oscillator types.
With the fundamentals of wavetable
synthesis covered, let’s put it to practical padproducing use, using the superb Serum to
create our own waveform for use as part of a
lush pad sound.
6. Custom waveform pad in Serum
1
Let’s explore Serum’s wavetable
synthesis, creating and editing our
own waveforms for use in a patch. Open
your DAW and set the tempo to 128bpm,
import the audio files beginning “Serum…”
from the Tutorial Files folder, and create
a new instrument track with Serum
loaded onto it.
4
We can use Serum’s amp envelope to
give our pad longer attack and release
times – click Envelope 1 and set its Attack
to 1.45s and Release to 200ms. Next, turn
on the Filter and route Oscillator B to it by
highlighting B (middle left). Drag
Envelope 2 onto the Filter’s Cutoff knob
to modulate the cutoff with the envelope.
44 / COMPUTER MUSIC / March 2016
2
Import SerumPad.mid onto the
instrument’s track to trigger the synth.
Open Serum and load its Init preset from
the main menu. We’ll start by choosing a
rich wavetable for Oscillator A – pull down
the wavetable menu (top of oscillator) and
choose PWM Juno. Next, lower the
master output (top right) to around 40%.
After this, we can use an audio sample to
make a wavetable for Oscillator B.
5
Set the Filter Cutoff to around 400Hz,
then set the Env 2 » Filter Cutoff
modulation amount to 50. You’ll hear the
filter’s cutoff open up as the note sustains.
Now tweak Envelope 2’s Attack to taste –
we’ve set ours at 673ms to make the filter
open slightly after the note starts. Next,
thicken the pad by setting both oscillators’
Unison controls to 3 and Detune to 0.10.
3
Turn Oscillator B on and click the
pencil icon at the top right. Open the
Import menu and select Audio (via FFT
Resynth 2048), then load SteelDrum.
wav from the Tutorial Files. The steel
drum sample will be sliced into several
waveforms automatically, ready for
further tweaking later. Tune Oscillator B
down by 4 octaves and 2 semitones to
get it in key with Oscillator A.
6
Finally, we can use an LFO to modulate
Oscillator B’s Warp control. Pull down
the control’s menu and choose Quantize,
then assign LFO1 to modulate it, with a
modulation amount of 35. Set LFO1’s Rate
to one Bar and the warp control will move
rhythmically, switching Oscillator 2’s
wavetable between waveforms and
adding some great modulation to our pad.
> make music now / synth sound design
Owen Palmer’s
10 top patch design tips
Having crafted countless electronic bangers as engineer to an
exciting array of artists, Owen is no stranger to synthesis. He’s
just released a wicked sound pack for Steinberg’s Retrologue 2
synth, too, so we just had to ask him for his top patch pointers
01
GET CURIOUS
In case nobody bothered to tell you,
the standard way to hone your synth
skills is to test a synth, feature-byfeature, with no special goal in mind other than
to find compelling sounds and note the methods
behind them. You’ll have plenty of “so that’s how
they do it” moments, and maybe even the odd
“now that’s a cool sound that I’d never heard
before” moment. Armed with the synth’s
manual, this is even easier, and you’ll come
away feeling empowered and inspired.
02
TREAT IT LIKE
A PUZZLE
When you set out to make a
sound, work your way through
each section of the synth (eg, oscillators, filters,
envelopes) as if you’re building a puzzle. Each
section is a piece that adds to the big picture, so
make it count. Once your patch is close to how
you want it, tweak each section over and over
again until you run out of ways to better it; use
all that’s on offer to coax your perfect sound.
03
START FROM SCRATCH
Dissecting professionally designed
patches is a smart way to find out
how skilled sound designers pull
off certain sonic traits. When you come to
make your own sounds, though, it’s mostly best
to begin with a blank preset. Starting from
scratch may seem a bit scary at first, but it
means you won’t get lost in someone else’s
puzzle, and it’ll be much easier to keep track of
how each section of the synth plays its role in
the final result.
04
CONTEXTUAL
TWEAKAGE
How much detune is too much?
Are the envelopes short enough?
Should the filter be set to 12 or 24dB per octave?
There are no one-size-fits-all answers to these
sorts of questions. Often the best thing you can
do is to figure out how you want the synth patch
to come across in the specific production it’s
going in. So make your final synth adjustments
only after you’ve established a MIDI
arrangement. This way you can audition the
synth part in context with the rest of the
production and make those tweaks bespoke.
46 / COMPUTER MUSIC / March 2016
05
KEEP IT MOVING
Everybody says synth parts need
movement, but I think this point is
hugely undervalued. I’d advise
you to find as many ways as you can to keep all
aspects of the synth patch in motion, without
losing its overall character. Master sound
designers know how to conjure the contrast and
dynamics human ears crave. Sometimes motion
within a synth preset is so subtle that you might
ask, “Is there any point?” That’s the magic fairy
dust, baby! Trust me, it matters.
06
KNOW YOUR WAVES
Make time to play with the basic
waveforms (sine, triangle,
square, pulse, sawtooth) and
get to know their unique strengths – even if you
plan to use loads of wild wavetables or FM. It’s a
rookie mistake to overlook the diversity of these
waveforms. Take my advice and you’ll soon be
ready to reproduce the vast majority of synth
parts you hear on records.
07
IGNORE SYNTH HYPE
There’s no such thing as ‘better or
worse’ when it comes to synths –
only ‘strengths and weaknesses’.
Furthermore, what you think of as a synth’s
weakness in one case might be its strength in
another case. For example, unsteady oscillators
might be crap for creating a progressive house
bass patch, but magic for manufacturing
interesting leads and pads. Keep an open mind,
collect synths, conduct shootouts, and always
play to each synth’s strengths.
08
09
GO LONG
Aim straight for the bullseye
within the synth. If you feel you
have to rely on a chain of
external effects just to make a sound fit, then
chances are you’d be better off modifying – or
even replacing – the patch itself. Where possible,
use added effects not to create your sound, but
to enhance it. If you do the heavy lifting with
synth design instead of with external effects,
your mixdown will be easier to do, and it’ll sound
better too!
10
DON’T GO ALL-OUT
When you’re playing with a synth on
its own, you may want to make
patches that fill out the whole
frequency range. Don’t do it, Luke, it’s a trap!
Above all, you need to leave plenty of space in
the top end for other sounds in your mix. Don’t
let oscillators gain too much power above about
2kHz. Use filter envelopes wisely, only letting
through as much as you need, succinctly. Search
your feelings – you will know this to be true.
HEAR MORE
TAILOR
PERFORMANCE
Compose your MIDI parts
mindfully in order to play to
each preset’s sonic strengths. If you’ve chosen a
preset before you have any MIDI patterns for it,
figure out which notes and rhythms best
flaunt its character – there’ll be at least one
sweet spot. When crafting presets, use the
keytrack (aka key follow) modulation source
skilfully to extend the range of notes over which
the patch sounds good. This is how – without
using external effects – I produced a cleansounding audio demo for the Captain’s Log
presets (right).
To experience Owen’s synth wisdom in
action, check out the amazing demo
video that showcases his Captain’s Log
preset pack for Steinberg’s ace new
Retrologue 2 synth. Owen covers a
range of genres and tempos and drops
more knowledge in this action-packed,
7-minute extravaganza!
www.owenthegeek.com/clog
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> make music now / synth sound design
LEAD
DESIGN
As the name suggests, a lead line is the
prominent melody in a piece of music
which acts as a hook to keep the listener
interested. Typically in electronic music, it will
be made using a synthesiser and can be the
thing that makes (or breaks!) a track. A prime
example of a lead synth at work is the riff at the
start of The Prodigy classic No Good (bit.ly/
ProdNoGood). This riff can be heard loud and
clear whenever it’s playing, reappears at
multiple points in the track, and is a great hook
that sticks in your head instantly. Obviously,
the notes that your lead plays are crucially
important, but what about the sound?
With modern electronic genres like EDM and
trap using huge lead lines as their main musical
elements, it’s important to utilise every trick in
the book to craft a thick, meaty lead that will grab
the listener’s attention and cut through when it
matters. A good starting point for creating a big
lead sound is to slightly detune two or more of
your synth’s oscillators against each other – the
phasing of multiple waveforms can sound
enormous when not pushed too far. Indeed, this
technique forms the basis of most hoover
sounds, a hoover being a characteristic detuned
lead like the one in Human Resource’s classic
track Dominator (bit.ly/HRdominator).
A related technique is to increase the number
of voices used by each oscillator with your
synth’s unison controls, and detune them against
each other. This will thicken the sound
considerably and is easy to do in most of
today’s soft synths. If your lead lacks depth,
try adding another oscillator tuned down an
octave and mixed in gently to fill the bottom
end out – or perhaps pitch it up an octave to add
high-end fizz!
Crucial to many monster synth leads is the use
of effects processing. Stereo delay is perfect for
adding width and density, as is reverb, but be
careful not to go overboard with either or you
risk your lead losing its focus. Check out
222’s Synth FX feature for more ideas on
processing lead sounds.
Now, let’s put some of these techniques to
good use by creating four huge leads using NI’s
awesome FM8, FXpansion’s brand new Strobe2,
and the incredible Dune CM synth that comes
free with this very magazine.
A
50 / COMPUTER MUSIC / March 2016
D
S
R
synth sound design / make music now <
FM synth power
Frequency modulation (FM) synthesis is a
powerful way to create unique leads, pads,
basses, and even drums. In contrast to
conventional analogue synthesis, where a
harmonically rich waveform is shaped by a filter,
FM synthesis works by using a (usually) simple
waveform – called a modulator signal – to
modulate the frequency of another basic saw,
square or sine carrier waveform. The resulting
waveform becomes more elaborate as the
modulator signal is manipulated, and this
enables the user to create a huge variety of
complex tones that aren’t typically possible
using more standard analogue-modelled
oscillators, including inharmonic sounds such as
bells and percussion.
FM synthesis was popularised back in the
80s by Yamaha’s best-selling DX7; although that
> Step by step
u-he’s Bazille packs in a ton of synthesis potential,
with FM being just one of its many sonic talents
instrument only had one programming control
and was hard to use, it became very popular
with musicians who valued its excellent presets
and truly unique sound. Perhaps the best DX7
emulation on the market today is Native
Instruments FM8, the hugely popular
follow-up to FM7, originally released in 2002.
Both can even load up original DX7 presets via
SysEx, so you can relive those classic 80s
sounds in your DAW.
If you’re after even more flexibility with
your FM synthesis, there are plenty of hybrid
synths available that offer frequency
modulation alongside analogue and other
technologies. u-he’s Bazille is a virtual modular
synth offering FM oscillators alongside
analogue modelled filters, while Synapse Audio’s
Dune 2 offers a choice of virtual analogue or FM
oscillators, with deep modulation control that
even extends to individual unison voices.
Now, let’s use FM synthesis to cook up a
timeless house lead in FM8.
7. Classic house lead with FM8
1
Let’s use the power of FM synthesis to
create a signature house lead with NI’s
powerful FM8 synth. Although we’re
working at house tempo, it’ll be well suited
to use in many other genres, too. Start by
opening your DAW, setting the BPM to 128
and importing FM8Backing.wav and
FM8Lead.mid from the Tutorial Files
folder. Load FM8 onto the instrument
track with the MIDI data on it.
4
Changing the amplitude of Operator A
has made our patch punchier, but
there’s still plenty more we can do. Change
the pitch of the modulation operator by
turning Operator A’s Ratio up to 4.00.
This gives the patch a more house-like
feel. Next, we can add richness to our
sound by changing Operator A’s waveform
to Soft Square. Check out how it sounds
in the supplied video and audio files.
2
Open FM8 and create a New Sound
from the File menu, then select the
Expert tab in the Navigator to start
editing the patch. Currently, you can hear
Operator F (the carrier) playing a sine
wave. We’ll use another operator to
modulate this signal’s frequency,
changing the sound as a result.
5
Let’s use FM8’s unison tools to add
thickness to the sound via detuning.
Click the Master tab, turn the Unison
Voices up to 3, and set Detune to 30 – this
makes the sound instantly bigger and
bolder. We can also add analogue-style
tuning variation to the unison voices, thus
making our lead sound less ‘digital’, by
turning the Analog slider up to 40.
3
In the FM Matrix, right-click Operator
A to activate it, then route it to
Operator F at around 50. As you turn up
the amount, you’ll hear the tone of
Operator F changing accordingly. Next,
we’ll use Operator A’s envelope to change
the sustain and release time. Click
Operator A and drag the red square in the
Envelope page down to the bottom of the
envelope at around 0.2.
6
Finally, we’ll dial in some of FM8’s
excellent effects to finish the sound
off. Open the Effects tab in the Navigator
and enable the Reverb. Set its Time to 20
and Dry/Wet to 40 to get a more
spacious, wider sound; then turn on the
PsycheDelay and set its Time to 4,
Feedback to 60 and Dry/Wet to 10. This
applies a gentle stereo delay to the lead
without overpowering it.
March 2016 / COMPUTER MUSIC / 51
> make music now / synth sound design
> Step by step
1
8. Spooky trap lead with Strobe2
Let’s make a spooky, trap-style lead
line using FXpansion’s Strobe2 (the
demo is available at fxpansion.com). Set
the project tempo to 140bpm, and import
the audio files beginning “Trap…” . Add an
instrument track, load Strobe2, and import
TrapLead.mid onto the track to trigger
the synth.
Gliding away
Portamento is a pitch slide
between two notes (overlapping
or not, depending on the synth).
Most synths will have a control
marked ‘portamento’ or ‘glide’
that lets you control the speed of
this slide, and by using it in
conjunction with careful
programming of note overlaps in
the triggering MIDI part, you can
utterly transform the feel of a
lead line. It’s not only brilliant for
making warm 90s-style rave
pads and classic Dr Dre leads, but
is also useful in modern EDM and
trap sound design.
A handy tip for making grimy
bass sounds using a portamentoenabled synth is to program a
long, sustained MIDI note, then
place a few short 16th-notes an
octave above it. This gives a
funky note-to-note pitchbending effect that can be
tailored by adjusting the note
lengths and portamento time.
It’s also possible to apply
portamento to samples in
most samplers, pitch-gliding
melodic elements or even
applying it to percussive sounds
to create interesting drum hits
and grooves.
The placement of notes in the MIDI part is
the key to effective portamento
52 / COMPUTER MUSIC / March 2016
2
Turn the main oscillator off and crank
the Sine volume on the sub oscillator.
Set the Shape to 40%, and modulate it
with the LFO to -20%, as shown (select the
LFO then drag down on the Shape
control). After this, push the Attack
control on the Amp Envelope up to around
15ms to lengthen the sound’s onset.
> Step by step
3
Turn the VCA’s Analog control to 40%,
and push the Filter’s Drive to 6dB.
Increase the pitch glide control (Key) to
about 30ms to add subtle portamento,
then bring some bite and colour to the
sound in the Effects tab, loading a Tin Can
Reverb on FX A and a Delay on FX B. Back
FX B’s Mix off to 60%.
9. West Coast hip-hop lead with Strobe2
1
We can use portamento to create a
piercing West Coast hip-hop-style
lead. We’re using FXpansion’s Strobe2
again, but this technique will work with
any portamento-equipped synth. Set your
DAW’s BPM to 95 and import
HipHopLoop.wav and HipHopLead.mid
from the Tutorial Files folder.
3
Modify the main oscillator’s waveform
by lowering the Saw slider to 0% and
raising the Square slider to 100%. We can
apply LFO modulation to the Stack control
to add a little movement. Select LFO in the
top menu and use it to modulate the main
oscillator’s Stack up to 3, as shown. The
modulation sounds a bit linear, so change
the LFO shape to Sine to give it a
smoother motion.
2
Load Strobe2 onto the instrument
track, and turn the Voices control
(bottom left) down to 1 and Pitch Glide to
120ms. Now our patch can only play one
note at a time – ie, monophonically – with
120ms of pitch glide between them. This is
the portamento effect we’re after.
4
Our sound is a bit loud now, so turn
the VCA Volume down by 1dB. Let’s
modulate the main oscillator’s pitch sync
for a hard sync effect that creates extra
harmonics. Select ModEnv+ at the top
and modulate the main oscillator’s pitch
Sync by an amount of +12. Now, push the
Mod Envelope’s Attack to 7 seconds, and
Decay and Sustain to full, to make the
modulation happen more slowly.
synth sound design / make music now <
> Step by step
10. Punchy detuned dance lead using Dune CM
1
Let’s create a massive lead synth, ideal
for EDM, trap and other dance styles,
using Dune CM and other
Plugins.
We’ll be using Logic Pro X for this
walkthrough, but any DAW will do. Start
off by opening your DAW, setting the BPM
to 128 and importing the audio files
beginning “Dance…” from the Tutorial
Files folder.
4
Although we’ve already detuned our
oscillators using the Fat control, we
can use Dune CM’s Unison section to add
more voices to our patch. Turn the Voices
up to 3 and set Detune to 40% to make
our patch bigger and bolder. Next, use the
Unison Spread control to give the patch
more stereo width – we’ve set ours at
30%, adding to the stereo image without
going overboard.
7
Now we’ll modulate the FM effect we
set up earlier. In row 3, set LFO 2 to
modulate FM 1 with an Amount of -20. Set
LFO 2 to Sync at a Rate of 1 bar, and
change its waveform to a sine wave. The
FM amount will alter rhythmically across
the length of a bar, supplying an extra
layer of modulation that makes the lead
more sonically interesting.
2
Add a blank instrument track and load
Dune CM and DanceLead.mid onto it.
In Dune CM, select Bank B in the central
panel to initialise the synth for
programming. Dune CM’s Fat control
stacks up detuned oscillators for
thickness. Turn Oscillator 1’s Fat knob to
around 50%, and set the Mix to 60%,
mixing Oscillators 1 and 2 together.
5
Our patch is a little loud now, so turn
the Output section’s Volume control
down to around 25% to blend the lead into
the mix. Next, we’ll add some depth to the
sound by mixing in Oscillator 3, which is
tuned an octave down by default – set the
Level control to around 20%. We can mix
a little white noise in too, giving our lead
some much needed crunch, by pushing
the Noise Level up to 20%.
8
To make the sound even bigger, let’s
mix in a bright reverb. Add a CM Verb
after Dune CM, and select its Studio A
mode. Push the Reverb Time to around
1.5s and the High Cut up to 20000(Hz),
and adjust the reverb level to taste. To
finish off the sound, let’s create a delay
effect on an aux/return channel. Add one
in your DAW, and set its output to -18dB.
3
We can use a different waveform for
Oscillator 2 to add interest to our lead.
Set its waveform type to Sel, then choose
waveform 09 from the list below. Set
Oscillator 2’s Fat control to 70% for even
more thickness. Let’s get some frequency
modulation going – pull down the FM
Mode menu, choose 1 > 2 dual, and push
FM 1 up to 20% – our lead is now crisper
and cuts through the mix better.
6
Now that we’ve got a thick, detuned
lead, we can make it more interesting
by modulating some parameters with
LFOs. Click Mod Matrix 1>12 in the central
panel. In row 2, route LFO 1 to Osc Mix,
with an Amount of -90. In row 3, route
LFO 2 to FM 1, with an Amount of -20. Set
LFO 1 to a square wave with Sync
enabled and the Rate at 1/8, and you’ll
hear the mix amount being modulated.
9
Add a Wolfram CM to the return, set to
the Basic Ping Pong preset, with its
Mix at 100%. Send the lead channel to
this aux/return at -12dB, and add a
sidechain-enabled compressor after the
delay. Use the DanceKick channel as a
sidechain input, and set a Ratio of 2:1, a
fast Attack, a Release of 30ms and a
Threshold of -30dB.
March 2016 / COMPUTER MUSIC / 53
> make music now / synth sound design
10 synth FX tips
From risers and sweeps to
soundscapes and all-out
weirdness, build pro sound
effects with your synths with
these ten top techniques
02
BUBBLING SAMPLEAND-HOLD EFFECT
In the realm of synthesis, a ‘sample
and hold’ waveform captures
snapshots of a random noise source at regular
intervals, generating a distinctive, bubbling
‘random staircase’ waveform that can be used to
modulate other synth parameters. Its random
nature makes it well suited to weird FX synthesis
and sci-fi ’scapes – simply hook up a sample-andhold LFO to modulate an oscillator’s pitch before
enjoying the distinctive gurgling effect heard
throughout sci-fi cinema.
03
PUT A RING ON IT
Ring modulation is the process of
multiplying together two
waveforms, with the output
featuring the sum and difference frequency
value(s) of the two waveforms. This creates
additional harmonics called sidebands,
generating bell-like and inharmonic tones that
are ideal for clangorous FX creation. Many
synths – such as XILS-lab XILS 3 CM, FabFilter
Twin 2 and our own Dune CM – feature inbuilt
ring modulator modules that allow you to
combine two waveforms in this way.
04
01
NEXT-LEVEL NOISE SWEEPS
This issue’s free virtual instrument, Enkl CM,
is perfect for FX design thanks to its quirky
AM/FM oscillator modulation, dual resonant
filters and useful effects modules. For instance, try
creating a modern twist on the ubiquitous ‘white noise
rise’ effect by applying fast sine-shaped amplitude
modulation (AM) to a white noise oscillator; next, crank
up the filter’s resonance to maximum, then sweep or
automate the High Cut (ie, low-pass) filter from
minimum to maximum for a howling, screaming riser.
You can then use Enkl CM’s onboard EQ and delay
effects to add a brightening treble boost and wide
delay taps.
54 / COMPUTER MUSIC / March 2016
MODULAR FX
MADNESS
There’s a reason why synth heads
become addicted to the Legostyle approach of modular synthesis: patching
synth parameters, modulations and routings
can generate unique sounds that regular prepatched synthesisers often can’t. Reaktor,
Bazille and Moog Modular V are popular
commercial plugin modulars worth checking
out – and there’s more modular madness in the
CM Plugins folder, from Aalto CM and XILS 3 CM.
05
8-BIT BLASTS
The crunchy noise blasts and
sweeps heard on countless
videogame soundtracks of
yesteryear are a doddle to synthesise with
AudioThing’s miniBit CM. Start with the synth’s
sample-based noise waveform, modulate the
filter with a sample-and-hold LFO, then use the
inbuilt sequencer at its fastest 1/32T speed to
modulate the waveform’s pitch and volume,
creating stuttering lo-fi blasts.
Videogame-style noise blasts await you with miniBit
CM, thanks to its low-res oscillators and arpeggiator
synth sound design / make music now <
06
ONE-KNOB
WONDERS
Modern synth plugins such as
NI’s famous Massive have
popularised the use of macros: by assigning
multiple parameter movements to a single
rotary control, it’s possible to induce complex
timbral shifts over time via automation. This
technique is particularly useful when you’re
synthesising textural risers or evolving FX, as
only the single macro needs to be automated
throughout an arrangement. Start by creating a
bread-and-butter riser effect by assigning an
oscillator’s pitch to a macro control, and
automating the latter. Then move on to
assigning other parameters to this same macro,
focusing upon adding the maximum amount of
change and interest throughout the course of
the macro’s movement.
07
FILTERS ARE DOING IT
FOR THEMSELVES
Many synths’ filters are selfoscillating: cranking the
resonance up to max will cause the filter to
produce a tone of its own, which can be tuned to
a specific frequency via the cutoff knob. While
filter keytracking allows the makeshift oscillator
to be played at corresponding pitches via MIDI,
sweeping or modulating a self-resonating filter’s
cutoff is a technique best suited to the creation
of sci-fi wobbles, zaps and pitch-sweeping FX.
Try using an envelope to sharply sweep the
filter’s frequency down, creating a kick-like zap
that you can bathe in reverb for a cavernous
boom effect.
Widening your synth sounds with plugins? Your
first step should be to try it within the synth itself
08
09
FX DESIGN WITH FM
Famously popularised by the Yamaha
DX7 hardware synthesiser, frequency
modulation synthesis involves using the
frequency of one oscillator to modulate the frequency
of another, creating harmonically complex sounds.
While careful application is often used to synthesise
bells and realistic instruments, the effect can quickly
descend into dissonance and weirdness – often
highly desirable when designing FX! Have a go at
cross-modulating the two oscillators against each
other – ie, each performing FM on the other – for
even weirder, more complex timbres.
WIDE INSIDE
While you may like to widen
your synth sounds with external
plugins, be sure to first explore
any inbuilt width-generating features. Oscillator
auto-panning, oscillator spread, pseudowidening and even delay modules can turn a
static, centred synth tone into a stereo effect
that fills out the stereo image. For example, try
creating a simple patch in Enkl CM before using
its Stereo Width knob and Delay effect to add
impressive width. The big advantage of building
stereo width into your patches like this is that
you can recall the patch for later use, complete
with a mix-filling stereo image.
10
INSTANT SCI-FI RISERS
Synths with novel or unique LFO
features can inspire numerous
pitch-modulating effects – the Fade
In parameter on Dune CM, for example, makes it
easy to dial in evolving pitch modulation.
Initialise Dune CM, change Oscillator 1 to a
square wave, then turn the Fat knob up to 50%
for detuned thickness. Next, use Dune CM’s
modulation matrix to assign an LFO to modulate
the oscillator’s pitch: set LFO 1 as the Source, Osc
1 Semi as the Destination, and set the maximum
+100 amount of modulation for this routing.
Next, switch LFO 1’s shape to a square wave and
apply a fast rate of 38Hz to give the square wave
a gnarly, gritty timbre. In order for the
modulation to open out over time, turn the LFO’s
Fade In amount up to between 8s and 10s,
introducing the LFO’s effect slowly after the
sound starts, creating an interesting ‘crosspitching’ effect as the modulation interacts
with the square tone. Finally, add reverb or
widening effects to make the sound even
more enticing.
March 2016 / COMPUTER MUSIC / 55
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March 2016 / COMPUTER MUSIC / 59
> make music now / producer masterclass
Starting out as a jazz pianist hustling
for cash in London’s bars and hotels,
Hannah V has had a fascinating journey
to becoming a producer, and has worked
with an incredible array of famous names
including pop princesses Rihanna and
Jessie J, and underground stars such as
broken beat legends Bugz in the Attic. We
caught up with her at collaborator Alex
Hayes’ East End studio, to uncover her
production secrets and ask – given that
she’s only the second woman to appear in
Producer Masterclass – why there aren’t
more female producers out there.
“There just aren’t that many of us. The
numbers are pretty shocking: under 5% of
commercial music is produced by women.
No woman has ever won a ‘Producer of the
Year’ Grammy or anything like that. Doing
things like [Producer Masterclass] is really
important, though, and I’m just glad I’m not
the first! Hopefully, seeing that a woman
can do it will inspire others to try and
become professionals. There aren’t many of
us around, but things are changing, and I’m
positive about the future.”
“Back then I was quite a
snob, and I only really
wanted to play piano”
Was it Hannah’s childhood dream to be a
producer? “No, it was to have a jazz trio like
Herbie Hancock, tour the world and only
play Bösendorfers!” she confesses. “I
trained as a jazz pianist, so that’s what I
wanted to do. I came from Berlin, where I
grew up, to study at the Royal Academy of
Music in London. I quickly realised that,
because I hadn’t grown up in a musical
family as such, my roots were pop and
hip-hop, so even at the academy my ear was
drawn to popular music. After I graduated, I
realised that it’s really hard to make a living
as a jazz pianist. I had to have ‘normal’ jobs,
playing in bars and restaurants, and
VIDEO
MASTERCLASS
Hannah shows us
how she wrote and
produced Andreya
Triana’s monumental
Branches of Life for BBC
Radio 3’s Body of Songs
project. Watch the video at
bit.ly/HannahVPM
60 / COMPUTER MUSIC / March 2016
Selected kit list
HARDWARE
Apple MacBook Pro
Apogee Quartet
Focusrite ISA One
Neumann U87
Yamaha Motif XF8
Access Virus TI
Focal Twin6 Be
Native Instruments Maschine
SOFTWARE
Apple Logic Pro X
Native Instruments Komplete 9
Arturia plugins
IK Multimedia plugins
Rob Papen plugins
teaching music. The way I got into pop was
by becoming a session player – I got my first
gig through one of my friends, and I played
keyboard for Charlotte Church.”
But up to this point, Hannah’s exposure
to music technology had been limited.
“This was the first time I’d ever been
introduced to keyboards, really. Back then, I
was quite a snob, and I only really wanted to
play piano and maybe the Rhodes. I hadn’t
really been introduced to synths. Working
with Gnarls Barkley was the first time I got
stems – I didn’t even know what stems were!
I managed to just about buy my first Mac,
and started programming. I had to figure it
out on the job! A lot of my friends helped me
out, and I read manuals and just learnt it.
“One of the main points in my production
career was when I played for Bugz In The
Attic, who are an amazing broken beat
collective. I was in their live band for a
couple of years, and they introduced me to
analogue synths, production, how to
ReCycle a break, how to line up kicks, how to
layer drums… I learned a lot of production
just from being on the road with them.
Those guys also introduced me to jazz-funk,
and my love for synths really started there.”
As Hannah’s profile as a session musician
grew, she got an insight into how some of
pop’s biggest producers got their sounds.
“My session gigs got bigger and bigger. I
was playing for Anastasia, Sugababes, Jason
Derulo… then I got the call for Rihanna. I was
in a band with some of the best musicians in
the world. It also helped that I got the stems
for all these songs from all these ridiculous
producers, so I was sitting there analysing
Kanye West or whoever’s productions! The
whole time I was producing on the side, and
I got signed by Sony, so I decided to quit my
session career completely. I went from
being a part-time producer to being signed
to a major – it was crazy!”
producer masterclass / make music now <
Atmospheric pads
with Guitar Rig
19:35
While working on the track, Hannah
experiments with guitar parts, including
the rather basic ‘Clean Electric Guitar 1’ patch from
Logic’s EXS24. This doesn’t sound very impressive on
its own, but she runs it through Native Instruments’
Guitar Rig, selecting the ‘Spinning in Space’ preset.
This instantly transforms the guitar patch into a
glorious shimmering pad with lots of movement. “It
didn’t sound anything like a guitar, but it gave me this
nice pad. Sometimes things happen out of mistakes –
that’s just the way it is; you just have to go with
them!” Hannah grins.
Piano chords with Alicia’s Keys
02:25
The intitial idea for the song starts
out with a sample of a heart
monitor, playing on the note D. Hannah creates a
chord progression with Native Instruments’
Alicia’s Keys piano instrument for Kontakt, laying
down a simple Dmin, Gmin, Amin, Gmin chord
progression that fits with the pitch of the heart
monitor sample. This chord progression is then
bounced down to audio for further manipulation,
and Hannah creates a cunning aural metaphor by
making reversed copies of each chord that segue
into the next, giving the part a ‘breathing’
dynamic as the chords smoothly rise and fall in
volume. See what she’s done there?
“As a keyboard player, you sometimes
fall into similar patterns, so working on
pads gives me a different vibe”
Beats with Maschine
07:06
Bass with
SubBoomBass
Hannah is a big fan of Native
Instruments Maschine: “I always
program my drums on Maschine – I like the creativity
it gives me, and I like being away from the keyboard.
As a keyboard player, you sometimes fall into similar
patterns, so working on pads gives me a different
vibe. Once I figure out my pattern, I put it into MIDI
mode and record straight into Logic, and then, if I
have to manipulate it, I bounce it out.” The beat
begins life as a kick and snare pattern, and for a jazzy
feel, a swinging ride cymbal is laid over the top.
Hannah beefs up the snare with some extra samples,
including a heavily reverbed second snare.
Vocals with
Waves plugins
32:23
The first thing Hannah does with
the vocal is gently pitch-correct it.
“With a voice like Andreya’s that has so much
character, you absolutely cannot touch her
vocal with anything like Auto-Tune. If you’re
going to tune, it has to be done through
Melodyne, and you have to be very sensitive
when moving the notes, because you don’t
want to lose the rawness. I didn’t want to lose
the inflections or the vibe, so it was just a matter
of tidying up certain sections, especially in the
harmonies.” Hannah EQs the vocal with Waves’
SSL E-Channel, compresses it with Waves
CLA-76, adds a touch of delay with PSP 84,
and applies reverb from Waves RVerb.
HEAR MORE
04:08
The time has come to
create a big, beefy bass
sound for the track, so Hannah calls on Rob
Papen’s SubBoomBass – specifically, the
‘Serial 8 Boom’ preset, located in the
deepest depths of the ‘Sub’ category. “The
beautiful thing about this is that it sounds
like an 808, but it has a long release,”
Hannah enthuses. The sub bass follows
along by playing the root note of each
chord, and to add a little melodic interest,
Hannah adds a complementary sawtooth
synth bassline over the top of it using her
Access Virus TI. The sawtooth bass is then
bounced to audio in order to keep
everything together in the DAW, ready for
the mixing process.
It Ain’t Right (ft. LaBelle)
bit.ly/ItAintRight
Version 2.0 (ft. Ama Schreyer)
bit.ly/HVver2
soundcloud.com/hannahvofficial
twitter.com/HannahV
facebook.com/HannahVofficial
March 2016 / COMPUTER MUSIC / 61
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U LT I M AT E
ARPEGGIATORS
Conjure up instant runs,
melodies, chords and
even beats with our
essential guide to these
inspirational processors
Arpeggiators aren’t just great fun to mess
around with – they’re also amazingly
powerful creative tools, taking the hard work
out of producing rapid runs of notes that fit in
with a particular set of chords. All you have to
do is hold down the chords in question, or
program them into your MIDI editor’s piano
roll, to have your arpeggiator step through
their constituent notes rapidly in a
predetermined sequence. The upshot is that
with minimal input, you can effortlessly
produce driving 16th-note basslines or
complex, interwoven melodic sequences
based on the chord you’re currently playing.
The arpeggiator as we know it today first
appeared as a built-in feature on various
analogue synths of the late 70s and early 1980s,
such as the Korg PolySix. The PolySix’s onboard
arpeggiator only included controls for speed (it
could be clocked from an external sequencer or
drum machine), octave range (1, 2 or all octaves
of the keyboard), pattern (up, down or both) and
latch (enabling the arpeggio to continue running
after you’d lifted your hands from the keys), but
modern variants are considerably more complex
and versatile.
Today, you don’t even have to fork out any
dosh for such inspirational modern arpeggio
action – our own free
Plugins collection is
packed with creative devices, from software
synths like miniBit CM and Dune CM, which
include simple step sequencers that allow you to
program your own note patterns, to standalone
effects such as Cream CM and Nora CM, which
successfully jettison the synth altogether and
work solely as MIDI plugins. The latter are so
advanced that they almost fall into their own
‘mini-sequencer’ category, designed to be
hooked into the MIDI signal path between your
DAW and any third-party synth or sampler.
All of these plugins are available for
download from vault.computermusic.co.uk,
and in this tutorial, we’re going to use them to
unearth some advanced arpeggiator tricks
and techniques.
With all that said, then, let’s get down to
creating some memorable works of arp!
March 2016 / COMPUTER MUSIC / 65
> make music now / ultimate arpeggiators
> Step by step
1. Arpeggiator basics with Cream CM
TUTORIAL
FILES
1
Let’s get a grip on Cream CM’s
standard arpeggiator controls, which
are the same as those on countless synths.
Import the ArpBasic Drums.wav and
ArpBasic Chord.mid files into a new
project at 134bpm, then load up u-he’s
Zebra CM and connect an instance of
Cream CM to its input. Set Cream’s
operating note range (top-left corner)
from C0 to C10.
Hooking up MIDI
plugins/arpeggiators
Getting the MIDI routing right
when using MIDI plugins such
as Cream CM and Nora CM can
be confusing, as the setup
process varies from DAW to DAW
(if in doubt, consult your
manual). For example, to use
Nora CM with Logic Pro X, you
need to install and use the MIDI
FX version of the plugin, loading
it into the MIDI FX slot on the
channel of the software synth
you’re arpeggiating.
On the other hand, to use Nora
CM in Cubase, you have to create
two MIDI tracks, the first with
Nora CM loaded and the second
hosting your soft synth. Route
the MIDI output of the Nora CM
track to the synth track’s MIDI
input, then drop a MIDI file or
record some chords onto the
first track – Nora CM will process
the MIDI data and feed a
corresponding stream of notes to
the synth on the second track.
To set Cream CM up in Ableton
Live, create two new MIDI tracks,
then put a synth on the first
one and Cream CM on the
second. Set the synth channel’s
input to X-CreamCM (with ‘X’
being the CreamCM track
number) and input channel to
CreamCM. Activate monitoring
on the synth channel, then
program or record some chords
on the Cream CM channel. These
will be processed by Cream CM
and passed to the synth’s MIDI
input to trigger it.
66 / COMPUTER MUSIC / March 2016
2
Set up a four-bar cycle range in your
DAW and press play. You should hear
the three notes of the Gm chord in the
MIDI file played as a high, repeated
arpeggio. Set the Transpose knob to -12 to
drop the whole part down an octave, then
use the Gate control to adjust the length
of each generated note – negative values
make the notes progressively shorter;
positive values increase the note length.
> Step by step
1
3
3
Increase the arpeggio’s range by
turning the Octaves knob up from 1 to
3, so that the generated notes span three
octaves of the keyboard; then adjust the
Rate control to change how many notes
are generated within a bar. By default, this
is locked to the host tempo and adjusted
in musical note values – 1/16, 1/8, etc, with
dotted and triplet variations available.
2. Generating a melodic top line from chords
If you’re having trouble coming up
with a suitable melody, arpeggiators
can generate lead lines or melodies that
are guaranteed to work with existing
chord progressions. If you don’t have a
chord sequence, hook Melodic Arp
Chords.mid up to a piano or synth patch
in your DAW, then copy and paste the
chord part to a new MIDI track.
Set Cream CM’s Rate control to a slow
speed – we’ve chosen quarter-notes to
trigger a new note four times in every bar.
Any other arpeggiator should feature a
similar control. For a smoother, more
legato effect, set the Gate control to
100%, lengthening the notes so that they
invoke the synth’s Glide mode and slur in
pitch as they transition.
2
On the new track, set up an
arpeggiator plugin, or a synth with an
arpeggiator built in. We’re using Cream
CM and Dune CM. Load one of Cream’s
presets to use as the basis for the melody
– we’ve gone for TranceArp01 from
Cream’s Factory » Lead section. We’ve also
chosen the 020 Doom SDX Dune CM
preset as the sound for our melodic lead.
4
Set Cream’s Velocity Mode to Max to
make each note in the melody as loud
as possible, then reduce its overall volume
down to around -5dB. Add a splash of
delay to spice up the sound a little. To
change the melody, simply choose a new
Cream CM preset pattern – each will
interpret the chords in a different way.
ultimate arpeggiators / make music now <
> Step by step
1
Import P3ArpChords.mid into your
DAW. It’s a set of sustained, 1-bar
chords containing notes of varying
lengths and velocities. Hook it up to Zebra
CM (playing the TUC Standard Short
Bass preset), fed by the Cream CM MIDI
FX plugin, loaded with the Misc » YesMoog-Chords preset.
> Step by step
1
2
Note velocity is usually passed on by
arpeggiators to the generated notes,
but it’s often desirable to have all
arpeggiated notes at the same velocity. If
your chosen sound is particularly velocitysensitive, making all the input note
velocity values the same will ensure an
even result.
3
You’ll also need to ensure that all
notes of the input chord are the right
length, and make the gaps between each
chord as short as possible without the
notes overlapping. With no discernible
gap between the chords, each bar is full of
arpeggiated notes.
4. Automating Dune CM’s arpeggiator rate for stuttered FX
Import CDrums.wav and CKeys.mid
into a 128bpm project. Load Dune CM
on a MIDI track – we’re going to use its
Chord mode, which rhythmically triggers
whole chords instead. Select the 015 Cool
House RL preset. Press play – you should
hear a static Cm7 chord over the transition
between bars 4 and 5.
> Step by step
1
3. Programming chords with an arpeggiator in mind
2
Enable Dune CM’s Arp mode in the
Output section. Switch the central
display to Arp Pat view and set a C3 in the
first step. Set Steps to 4, Length to -50%,
Mode to Chord and Sync to Off. This last
setting unlocks the arpeggiator’s Rate
parameter from the project tempo, which
will allow us to smoothly automate it.
3
Since the Mode is set to Chord, Dune
CM should now be playing short,
staccato Cm7 chords over the transition.
Use your DAW’s automation to control
Dune CM’s Arp Rate parameter. Plot
control points as shown to slow the rate
down, and finish things off with a splash of
tape delay on the synth channel.
3
These values represent all octave (+12)
and perfect fifth (+7) intervals, so the
resulting ‘spread chord’ can be used over
both major and minor chords. In the top
right corner, set the rate parameter to its
fastest setting, 1/32T, generating a rapid
splurge of notes when you hit a key. Add a
splash of delay and you’re ready to rock!
5. Arpeggiated 8-bit chords with miniBit CM
The sound chips in old-school
computers and games consoles had
limited polyphony, so composers would
often use fast, monophonic arpeggios
instead of chords. To recreate this, load an
instance of AudioThing’s miniBit CM onto
a software instrument track in your DAW.
Select the [00]-INIT preset.
2
Click the ‘lines’ button to the left of the
preset display to bring up the step
sequencer section. Activate the Pitch
button, then use the mouse to scroll the
pitch offset value in each box to the values
shown above. The numbers represent a
number of semitones of offset relative to
the original note.
March 2016 / COMPUTER MUSIC / 67
> make music now / ultimate arpeggiators
> Step by step
1
6. Polyphonic arpeggiation with Nora CM
A polyphonic arpeggiator can output
chords rather than just monophonic
sequences of single notes, and
SquaredHeads’ Nora CM, which debuted
in
225, is one such plugin. In Logic Pro
X, Nora CM is implemented as a MIDI FX
plugin, so first we need a software synth to
insert it in front of – enter Synapse Audio’s
Dune CM, loaded with the 090 Silk Lead
RH preset.
2
We need some chords to use as input
for the Nora CM plugin, so import
NoraChords.mid into the project, onto the
Dune CM track, at a tempo of 140bpm.
Import NoraDrums.wav and NoraBass.
wav into the project if you feel like you
need some accompaniment. Hit play to
hear how the chords sound au naturel.
4
Here’s the clever bit. When you hit
play, Nora superimposes the note
pattern you’ve created over the chords
appearing at its MIDI input, and sends out
a polyphonic arpeggio based on these
combined elements. The one-bar pattern
that you’ve programmed loops around as
the track plays, so that each chord change
is broken out and replayed according to it.
3
Insert Nora CM as a MIDI FX plugin on
the Dune CM track – refer to the
instructions for your particular DAW,
found in the Nora CM folder. Open the
plugin window and click to insert some
notes into Nora’s phrase editor, in a
similar pattern to the one shown here.
Note that this is a polyphonic
arrangement, with multiple notes
playing simultaneously – ie, chords.
5
We can create extra depth by adding
more notes to the sequence. Rather
than a conventional piano keyboard
layout, the phrase editor features clusters
of three notes. Each note in the central
cluster represents a note from the input
chord, while the cluster above represents
an octave higher and the one below an
octave lower. We can thus add some bass
notes in the lower register.
3
For something a bit more extreme,
switch to 059 Meloblast RH, which
uses Dune’s Dynamic arpeggiator mode.
The lowest received note governs the
base key of the sequence, but each step
can be overridden by adjusting the value
in the third column of the pattern, so that
the second or third note is triggered.
POWER TIP
>Collect your clips
Nora CM’s playlist feature
allows easy sequencing of your
clips. By copying the current
phrase, you can make changes to
the notes within it and save the
result as a separate phrase. This is
done using the ‘Make Unique’
option in Nora’s Edit menu. You
can then arrange your saved
phrases into a sequence by
dragging and dropping them
around the playlist area in the
lower section of Nora’s interface.
> Step by step
1
7. Chaining multiple arpeggiators for complex results
Chaining arpeggiators together can
produce unexpected and spectacular
tunes. Using the previous tutorial’s final
result as our starting point, changethe
Dune CM preset to one that features an
arpeggiated sound – such as 044 Ice Rain
RH, shown here.
68 / COMPUTER MUSIC / March 2016
2
To see what’s going on, click Dune
CM’s Arp Pat button. The Arp Mode is
set to Voice 2/4/6/8. Each chord delivered
by Nora CM to Dune CM is played by an
eight-voice patch – odd-numbered voices
are sustained and even-numbered voices
are arpeggiated. The result is a pleasant
mix of chords and arpeggiated melody.
ultimate arpeggiators / make music now <
> Step by step
8. Using an arpeggiator as a drum sequencer
1
Using an arpeggiator to sequence
percussion sounds is a great way to
come up with imaginative new grooves.
Start a new 120bpm project in your
DAW of choice and import the audio file
GroooveCMKick.wav from the
Tutorial Files folder onto a new audio
track. This will provide a solid four-to-thefloor backbeat to our arpeggiated
percussion groove.
4
On the Grooove CM track, create a
MIDI region and program a MIDI note
event for each of the six pitches triggering
the drum sounds. Extend the length of
each note to fill the entire region,
effectively creating a long, six-note chord.
This will tell the arpeggiator what notes to
play. Press play and you should hear all
the percussion sounds trigger together in
one big chunk at the start of the region.
7
Let’s say we want to use these sounds
to play a two-bar pattern of eighthnotes. To do this, set the Rate parameter
to 1/8, and in the Pattern Controls section,
click the Reset On New Note button. This
starts the pattern from the top each time a
new set of trigger notes is received. Snip
the original four-bar triggers in half in the
piano roll editor, so that the sequence
triggers every two bars.
2
Create a new software instrument
track and load an instance of our
Grooove CM drum sampler onto it. Like all
the other plugins in this tutorial, you can
get it from vault.computermusic.co.uk.
Grooove CM is a drum sample playback
instrument that can house up to six drum
or percussion samples, one on each of its
six ‘keys’.
5
Now the fun begins! Insert a MIDI
arpeggiator – we’re using Cream CM –
before the Grooove CM plugin. Hit play
again and you should hear the percussion
sounds cycling through as Cream CM
arpeggiates the chord, generating a
string of 16th-notes that loop around our
six note pitches.
8
Duplicate this setup on a second track.
For this instance of Grooove CM, load
the supplied Grooove Arp Hats CM preset
(found in the Tutorial Files folder) – it’s six
acoustic hi-hat samples assigned to the
same six notes used in the Techno preset.
Copy the MIDI region to the new track,
then set Cream CM’s Rate to 1/16 to
generate a hi-hat pattern that works nicely
over our percussion groove.
3
Load a Grooove CM preset to fill the
six keys with a set of six percussion
samples – we’ve chosen the Techno kit.
We already have a kick drum supplied by
the audio file, so we tune the kick drum
sample up by 12 semitones to make it
more of a percussion sound. Make a note
of the MIDI keys that trigger each of
the six sounds – we’ve got C1, D1, D 1, F 1,
B1 and C2 here.
6
Experiment with the Rate parameter
to adjust the speed of the arpeggio
and, consequently, the frequency of notes
in the groove. Because you’re cycling
around a set of six notes, this creates a
variety of rhythmic patterns when looped
over a 4/4 backdrop. Triplet patterns can
produce especially interesting results.
9
Using Cream CM’s Rate controls in this
way can lead to some really creative
and interesting rhythmic interplay
between the two sets of sounds. For
something really out there, try setting the
hi-hats’ Rate control to 1/8D to get a
rolling, off-kilter groove. Combining
rhythms in this way is almost certain to
get you out of any rhythmic rut and
inspire new percussive creations!
March 2016 / COMPUTER MUSIC / 69
HOW TO USE…
ZOR
Stay sharp with our guide
to Native Instruments’
innovative soft synth
DOWNLOAD
See it in action in video
on your PC or Mac via
vault.computermusic.co.uk
Designed and developed by
Native Instruments in
conjunction with Berlin-based
musician Errorsmith, Razor is
regularly cited as one of the best,
most radical-sounding virtual
instruments ever made. In our
review in
165, although
“initially a tad sceptical about
Razor, it being ‘just’ a Reaktorbased affair and entirely
additive”, we were ultimately
“duly humbled”, scoring it 9/10.
A single-bank additive synth
running in NI’s Reaktor or Reaktor
Player shell, Razor gives you ‘en
masse’ control of the frequencies,
amplitudes and phases of its 320
partials, simulating all manner of
analogue, digital and hybrid
oscillators, filters and effects, via a
familiar set of parameters and a
powerful, expressive modulation
system. That’s right: like the synth’s
raw source signal, the filters and
effects are also created at the
additive level. In fact, the only
element that isn’t additively
conjured is the Dynamics Effect at
the very end of the signal chain.
The signal path, as represented
by the interface, begins with a pair
of simulated oscillators. These are
fed into a serial pair of simulated
filters, the output of which hits a
Dissonance Effect for harmonic
shifting, then a Stereo Effect for
panning and reverb simulation, and
finally, the not-simulated Dynamics
Effect mentioned above. Although
the vast majority of these
processes are doing nothing more
than throwing a single spectrum of
partials around, the uninformed
user wouldn’t know that they
weren’t operating a collection of
traditional discrete generating and
processing modules.
So what advantages does this
underlying additive architecture
give us? There are too many to
count: unique oscillator waveforms,
and filter shapes with resonant
properties and parameters that
couldn’t exist in a subtractive synth;
tuned reverbs ‘played’ as part of
the instrument; echoing envelopes;
crazy panning effects; and all sorts
of harmonic manipulation. It’s truly
amazing stuff.
In this tutorial and its
accompanying videos, we’ll walk
you through most of Razor’s
controls, showcasing some of the
cutting-edge sounds that can be
made with it along the way.
March 2016 / COMPUTER MUSIC / 71
> make music now / how to use razor
> Step by step
1
1. Loading, saving and morphing Razor’s Snapshots
Razor uses Reaktor’s Snapshots
system to store and load presets. Load
a Snapshot by clicking either of the
Snapshot menus at the top of the Razor
or Reaktor GUIs and selecting from the
list, or clicking the camera button in the
sidepane (revealed with the magnifying
glass button) to switch to the Snapshots
view, which lists Razor’s banks at the top
and Snapshots below.
> Step by step
2
To save Snapshots in the full version of
Reaktor, activate the Edit button and
use the Add (saves to the last slot of the
current bank), Store (overwrites the
selected Snapshot) and Insert (saves into
the next Snapshot slot after the selected
one) buttons located right at the bottom
of the Snapshots pane. Reaktor Player
can’t save Snapshots, but Razor’s settings
are saved as part of the host DAW project.
3
The Morph + Random section contains
controls for morphing between two
Snapshots, loaded into the left and right
slots. The Morph slider interpolates them
at a speed determined by the Blend Time
below; the Randomize and Random
Merge buttons can be used to randomise
the parameters of the current Snapshot or
randomly merge the parameters of the
two Snapshots by the central amount.
3
The Ratio spinner is the equivalent of
an analogue oscillator’s pitch control,
multiplying the frequency, with octave
jumps at 2, 4, 8, 16 and 32. The second
digit of Oscillator 2’s Ratio simulates
‘beating’ against Oscillator 1 by
increasingly modulating the amplitude of
coincident partials the further its raised –
very useful for detuned patches.
6
Highlights among the more out-there
oscillator types include Number,
Mixed and Sick Pitchbend, giving what NI
describe as “pseudo-pitchbend” sounds;
Pitched and Synced Noise, which
essentially randomise partial amplitudes
to create random waveforms and/or noise
effects; and Formant, which features 32
wave shapes and can shift the phase of
the partials when loaded into Oscillator 1.
2. Understanding Razor’s Oscillator sections
1
Rather than generating raw signals
from scratch, Razor’s two oscillators
effectively emulate a range of
conventional and unusual waveforms by
shaping the frequencies and amplitudes
of partials. To turn each one on – or, more
accurately, to apply its shaping to the
partial spectrum – click its power button.
4
Each oscillator type adds to these
common controls with just one or two
additional parameters, making them all
very easy to use. Among the most basic of
the 14 types, Pulse to Saw and Octaves to
Saw add a control for transitioning
between their two named waveforms – a
pulse wave and a sawtooth, and a series of
octave partials and a sawtooth.
72 / COMPUTER MUSIC / March 2016
2
Razor offers a choice of 14 oscillator
types. Clicking the name of either
oscillator opens the oscillator picker in the
main display, and clicking a type loads it
into that oscillator. A handful of controls
are common to all four types. Amp
establishes the amplitude level, or volume,
of the output, while Colour is a tilt EQ for
shifting the overall frequency emphasis.
5
The Pulse Width and Hoover
oscillators each have a single PW
knob for manipulating the partials to
adjust the width of the resulting pulse
waves; while Sync Classic and Sync
Dissonance emulate pairs of synced
oscillators, the first enabling shifting from
pulse to saw waveshapes, and both
emulating offset of the pitch of the synced
oscillator via their Sync knobs.
how to use razor / make music now <
> Step by step
3. The additive Filter banks in Razor
1
Razor’s filters don’t actually filter the
output from the oscillators in the
conventional subtractive sense – instead,
they shift the amplitudes of the partials to
emulate and expand on the same process.
Filter 1 always comes first, offering five
low-pass variations, one band-pass, and
five more creative options; while Filter 2
features eight overt ‘effect’ filters.
4
Filter 2’s types start with Lowpass,
Highpass, Bandpass and Band Reject.
Multimode Dirty morphs smoothly from
low-pass through band-pass to high-pass,
with variable resonant bandwidth. Comb
Peak and Comb Notch emulate comb
filters, boosting/attenuating certain
frequencies for edgy phaser and flanger
effects. Further phasing effects can be had
with the Phaser type.
> Step by step
1
2
Filter 1’s Lowpass types go way
beyond their conventional analogue
equivalent, with Boost and Width (or
Stretch, in the case of Lowpass Dirty) dials
improving on the usual resonance control
by applying a resonant boost or cut of
separately adjustable gain and bandwidth
at the cutoff frequency. All but Lowpass
Dirty also allow tilting of the filter Slope.
5
Waterbed employs a simulated model
of waves in water as a filter curve
shape for yet more phasing, this time of
the undulating kind. Pseudo Pitchbend
combines high-pass and comb filtering to
simulate pitchshifting; Gaps is an
invertible ‘hard-edged’ comb filter; and
Unisono Noise rapidly modulates the
amplitudes of partials to give the
impression of multiple signals.
3
The Bandpass Filter type features
independent bandwidth controls for
the filter itself and the resonant boost. EQ
Decay and Formant Decay are a five-band
graphic EQ and formant filter respectively,
with the Decay dials and other controls
working together to create evolving
frequency tail-offs and ‘plucked’ sounds.
6
The three dials at the left-hand end of
each filter control the smoothing of
the partial amplitudes with fast filter
movements. Attack sets the speed with
which the Filter Smoother kicks in when
partial amplitudes rise (eg, raising the
frequency of a low-pass filter); Decay does
the same but for drops in amplitude; and
Damp reduces the decay time for higherfrequency partials.
3
On the faux physical modelling side of
things, the Stiff String and Metal
effects do exactly what their names
suggest. Nearly all the Dissonance Effects
feature an Amount dial, for setting the
depth of manipulation applied to the
partials. The other controls – Pitch,
Partial, Quantise and Speed – alter the
amplitudes and/or frequency distribution
of the partials involved.
4. Wielding Razor’s Dissonance Effects
The Dissonance Effects section is key
to unlocking the weirder, darker side
of Razor. When it’s turned off, the partials
are harmonically tuned, each one a
precise multiple of the fundamental
frequency (the lowest partial). Turn it on,
though, and one of 14 detuning effects can
be applied, taking things in a decidedly
inharmonic direction.
2
The impact of each Dissonance Effect
on the partials making up the signal
can be clearly seen in the main display,
which really helps when it comes to
understanding what they’re doing.
Although a few of the effects are designed
to simulate physical modelling, most of
them are abstract in nature, enabling
stretching, shifting, reversal, noisifying
and general transformation of the partials.
March 2016 / COMPUTER MUSIC / 73
> make music now / how to use razor
> Step by step
5. Stereo effects and Dynamics in Razor
1
Rather than being discrete audio
signal processors, Razor’s nine
polyphonic Stereo Effects do their thing
by messing with the amplitudes of the
partials in the left and right channels. Click
the Stereo Effects header bar to the right
of the Dissonance Effect and make your
selection in the main display. The top row
focuses on stereo manipulation, while the
bottom row deals primarily with reverb.
4
The Dynamics Effects are Razor’s only
actual audio signal processors,
processing the final output of the additive
engine, including the Stereo and
Dissonance Effects. There are six of them,
loaded in the usual way via the main
display, and the horizontal meter at the
bottom of the section shows the amount
of gain reduction being applied for all of
them except Rectifier.
2
Auto Pan, Stereo Spread and Simple
Pan present three options for
automatic and static (but modulate-able)
panning, with the Ramp control reducing
the effect on low-frequency partials.
Chorus is a simulation of its eponymous
process, and Unisono Noise does the
same thing as the filter type of the same
name, though with the addition of the
Ramp control.
5
Compressor and Clipped Compressor
both work to a fixed threshold, with
the Drive knob raising the gain to push
the signal over it. Compressor features
variable Release time, while Clipped
Compressor feeds into a soft clipper. Dirty
Limiter combines limiting with
waveshaping distortion, the sound of
which is heavily influenced by the
Dissonance Effect.
3
Razor’s three main reverbs – Reverb,
Reverb Synced and Resonant Reverb
– sound very different in Monophonic and
Polyphonic modes. In Polyphonic, each
voice has its own pitched reverb tail, while
in Monophonic, each new note repitches
Reverb and Resonant Reverb’s tails, and
kills the tail of Reverb Synced. Air is related
to Unisono Noise, applying gentle reverb
to just low-amplitude partials.
6
More distortion is provided by the
Saturator, Clipper and Rectifier effects.
Saturator gives independent control of
high- and low-frequency overdrive; Clipper
gets filthier as the Foldover is raised; and
Rectifier includes adjustable Bandwidth
and allows for parallel processing with its
Amount control. Again, your choice of
Dissonance Effect will have a big influence
on the sound of all three.
6. Razor’s Voicing, Global Controls and View B
Razor’s Voicing section controls the collective
pitch and starting phase of the partial bank.
The Pitch and Fine knobs set the pitch in
semitones and cents, the first being available
as a modulation target. The Glide knob
determines the glide or portamento time
between notes, with no portamento at all
when set to zero; activate Auto to apply
portamento to overlapping notes only.
The Phase knob controls the phase of the
320 individual partial oscillators – when turned
fully clockwise, they run free, varying the
attack from note to note for a more ‘analogue’style sound. Randomisation of the phase with
each new note can be dialled in using the
Random knob.
Directly above the Graphical Display sit the
Global Controls. The Mono/Poly button
switches between one-voice monophonic and
74 / COMPUTER MUSIC / March 2016
View B allows you to see just the Macros and Scope display
six-voice polyphonic modes, the latter being
adjustable in Reaktor’s Instrument Properties
but not in Reaktor Player. In Mono mode,
Single Trigger makes a note played while a
previous note is held change the pitch of the
first note rather than trigger the new one;
while Poly mode’s Voice Limit sets the
maximum number of simultaneous voices
allowed below note G1 in order to save on CPU
cycles, which lower notes use more of than
high ones.
The Low, Medium and High Quality settings
affect the additive engine update rate, each
with a commensurate change in CPU usage.
High is the only one that calculates all 320
partials to 100% accuracy, and even then, only
in Mono mode.
At the right-hand end of the Global Controls,
you’ll find the Macros button, which opens the
Macros page, and the Output knob, which is
Razor’s master volume control.
Finally, Razor’s View B, invoked via the B
button, reduces the interface to just the eight
Macros and the Scope display. Macros can only
be assigned to MIDI controllers and/or host
automation here.
> make music now / how to use razor
> Step by step
1
7. Understanding Razor’s Spectral Clip and Safe Bass
To the right of the main display, the
Spectral Clip module clips all partials
exceeding the Clip threshold, with the
Pitch Cutoff parameter (which tracks
incoming MIDI note pitch) setting a
frequency above which the threshold falls
at a progressive rate determined by the
Slope knob. Use it to rein in undesirable
peaks in the frequency spectrum.
> Step by step
2
Immediately after Spectral Clip in the
signal path, Safe Bass effectively
emulates a sub-bass oscillator by
introducing a ‘saw wave’ shape at the
fundamental and lowest partials. It’s ideal
for bringing clear bottom end back to
heavily manipulated patches, and it even
works on its own with both oscillators
disabled, so you can use it as your main
source generator if you like.
8. Modulation with Razor
1
To assign a modulation source to a
parameter, click one of the
modulation slots underneath the
parameter, choose your modulator from
the main display, and set the modulation
depth using the rotary control. A grey ring
around the parameter control visualises
the modulation.
3
Razor’s two LFOs offer a good
selection of wave shapes, and can run
free in Hertz mode, or synced and
retriggered in Beats mode. LFO 2 can also
be slaved to LFO 1, with variable Phase
offset. The Sidechain source produces a
signal by scaling a modulator loaded into
its lower slot with that loaded into its
upper slot. With none loaded, Sidechain
simply outputs its Amount value.
76 / COMPUTER MUSIC / March 2016
2
The Echo Steps modulator works like a
delay, stepping the target parameter
up or down with each incoming note at a
rate determined by the Delay and
Feedback controls. Activating the Echo
button on an envelope applies that same
stepped ‘delay’ to the target, but with each
step shaped by the envelope.
4
The MIDI and Tracking modulators
comprise the usual Velocity, Mod
Wheel, Pitch Bend, Aftertouch, Key and
Pitch options, as well as tracking of Filter
1’s cutoff frequency. And finally, each
module type (Oscillators, Filters, Effects
and Modulators) has access to two Macro
knobs, each of which can be assigned to
as many parameters within those modules
as you like.
3
The Amount dial controls how heavily
the amplitude of the lower partials is
governed by Safe Bass – fully clockwise,
they’re independent of the input signal
level; turning it anticlockwise blends the
original partial amplitudes with those of
the Safe Bass signal. Bass Lvl sets the
volume level of the Safe Bass signal, and
Slope extends its frequency spread.
9. Razor’s graphical
display
Razor’s graphical display
is hugely informative,
clearly showing the effect
that every tweak, twiddle and
modulation is having on the
frequency, amplitude and stereo
positioning of its 320 partials.
The text buttons below switch
the display between eight
sources, and with the Auto
button engaged, moving any
control instantly switches the
Graphical Display to show its host
section. Osc 1 and Osc 2 show the
partial spectrum of each
oscillator, while Filter 1 and 2
show the response curve of each
filter. Clipper shows the effect of
the Spectral Clip section on the
partials and the threshold curve
itself. Stereo shows the panning
of the partials, and Output shows
the final partial spectrum prior to
Dynamics processing. Scope
shows the audio waveforms for
the left and right channels at the
synth’s final output.
Switching to 3D mode causes
the partial displays to show realtime changes over a short period;
dragging within the display shifts
the 3D perspective. It’s ultimately
eye candy, however, and we
generally recommend turning it
off, since it can make it harder to
see what’s actually going on.
3D mode confusing you? Turn it off!
NEXT MONTH We take you on a tour of the deceptively deep Nexus2 from reFX
tutorials <
advice and videos from our computer music gurus
80
Easy Guide
Music theory
with Dave Clews
Learn how to add a second
voice to a melodic line in this
easy music theory tutorial
82
Designer Sounds
Sound design with
Charlie ‘Break’ Bierman
Advanced production
with Owen Palmer
Beat and drum design
with Ronan Macdonald
Transient
intricacy
Put the attack back into your
sounds with this in-depth look
at the science behind snapiness
86
Dr Beat
Synth
percussion
See hi-hat, woodblock and clap
sounds synthesised from scratch
in this sound design masterclass
84
Geek Technique
Two-part
harmony
Congas
and bongos
Learn how to program authentic
percussive parts with this lesson in
Latin from our resident beatsmith
March 2016 / COMPUTER MUSIC / 79
Dave Clews’
#36
Two-part harmony
Our in-house music theorist explains why, when it comes to
getting that perfect sound, two voices are better than one
Harmony is a wonderful thing, and there
aren’t many musical parts that can’t be
enhanced by the addition of at least one line
of it. Even at its most subtle placement in the
mix, to the point that you can hardly hear it,
harmony gives a sort of psychoacoustic
sweetening and thickening effect that the
average listener will enjoy – often without
being able to identify exactly what it is
they’re enjoying so much.
>Step by step
Here, I’ll be demonstrating how to create
effective harmonies with a single voice placed
on top of the melody; this is known as a two-part
harmony (even though one of the parts is really
the melody!). Because we’ll be concentrating on
using notes from the scale the melody is in, what
we’ll create is a two-part diatonic harmony.
Sounds technical, but it’s not too hard to figure
out as long as you have a rough idea of the key
of your song and the notes within the chords.
DOWNLOAD
Download the accompanying
video and the MIDI/audio files at
vault.computermusic.co.uk
You hear this kind of thing a lot in pop vocal
arrangements, but it’s relevant to instrumental
parts, too – it works particularly well on synth
lead lines or guitar solos, for example. The key to
success when using two-part harmony is to
work within both the key and the chords of the
song, so that whatever note you use for your
harmony complements the melody and fits with
the underlying chords. With all that in mind, let’s
take a closer look…
Creating a two-part harmony
TUTORIAL
FILES
1
Effective harmony writing depends on
knowing what key your song is in. To
illustrate the basic concept, let’s start by
looking at the winner of 2015’s Easiest Key
to Work With When Illustrating Music
Theory Concepts Award: C major. Here’s
the C major scale – eight white notes of
the piano keyboard, starting and ending
on the note C.
4
With the first note of our melody
being C, the harmony note a major
third above this would be an E – four
semitones above. So far, so good. It’s a
major third interval above the root note in
a major key, played over the root major
chord (C major, C-E-G) that includes this
same note as its middle note, so you’d
expect it to work, and it does. Sounds nice.
80 / COMPUTER MUSIC / March 2016
2
Here’s a simple melody using notes
taken from the scale. Before we create
a harmony to go with it, it’s useful to know
the chord progression that goes beneath
it, to make it easier to find harmony notes
that work. We’ll insert a simple C - F - C
progression, changing from C major to F
major on the downbeat of bar 2, then back
to C on the third beat of the bar.
5
What happens if we now follow this
line of logic and place a harmony note
a major third above each remaining note
in our melody? It sounds terrible. That’s
because we’re using a fixed interval for
the harmony, which is not only generating
notes that fall outside of the scale, but is
also failing to take into account the chord
change half way through.
3
Now it’s time to start harmonising –
adding a second line a few notes
higher or lower than the melody. One of
the most popular intervals to use for a
two-part harmony is a third above the
melody. So, as we’re working in a major
key, let’s use a major third interval as the
basis for our harmony – this consists of
two notes, four semitones apart.
6
To get a more pleasant sound, we can
use diatonic harmony, which means
only using notes from the key we’re
already in. We’re staying in the key of C
major, so we’ll need to adjust the notes of
our rigid, major third-derived harmony so
that they conform to the notes of the C
major scale. Voila! Suddenly it sounds
much better, except for…
easy guide / make music now <
RECOMMENDED LISTENING
JUSTIN BIEBER,
LOVE YOURSELF
This track features subtle threepart vocal harmonies in the
chorus, and the trumpet solo is a
great example of instrumental
two-part harmony.
bit.ly/JBloveyourself
TAYLOR SWIFT,
BLANK SPACE
The vocal in this track makes fine
use of two-part harmony
throughout – pay particular
attention to the harmonies from
the first chorus onwards.
bit.ly/TSblankspace
7
…that fourth note, which, after the
original transposition of a major third,
has now become a B. Played over a C
major chord, this effectively makes a
Cmaj7 chord (C-E-G-B), which isn’t quite
the mood we’re going for in this context.
Nudging it up a semitone to the high C
note re-establishes our major triad feel
and is more what we’re after.
Because we’re in a minor key here,
we’re going to base our harmony on
an interval of a minor third (three
semitones) above the melody. We’ll use
the same method as before – copy and
transpose the melody up three semitones,
then nudge any incorrect notes around to
fit the parent scale and/or chords.
10
Dave Clews
PRO TIPS
In a studio career
spanning almost 25
years, Dave has
engineered,
programmed and
played keyboards on
records for a string of
artists including
George Michael, Kylie
Minogue, Tina Turner
and Estelle. These
days, in between writing articles
for
and other magazines, he
collaborates on occasional songs
and videos with singer/songwriter
Lucy Hirst, aka Polkadothaze.
www.daveclews.com
COMPUTER-ASSISTED HARMONIES
When working out a harmony for vocalists to sing, try
feeding your melody through a harmony generator
plugin such as zplane’s vielklang 2 CM. Use the plugin
to generate the required harmony part, tweaking it if
necessary until you’re happy with the result, then
record its output and mute the melody. Now you can
loop the harmony up in solo and have the vocalist learn
it by singing along.
A THIRD ABOVE
The reason why the third above is the most popular
harmony choice is that most Western harmonies are
built on stacks of thirds. When harmonising a major
scale, for instance, you do it by stacking up notes in
intervals of thirds to make three-note chords. It’s also
the interval that occurs most instinctively to most
vocalists whenever they’re asked to harmonise a
melody, so it’ll almost always work.
8
Now let’s try a minor progression in
the key of D minor. We’ve got the
chords Dm, B , G and B here. Notice that
the G major is not diatonic to the key of D
minor (G minor would be the diatonic G
chord in this case), so what we have here
is a borrowed chord (see
214’s Easy
Guide) taken from the parallel key of D
major, in which G major is the IV chord.
11
The first candidate for our attention is
the third note, which has been
transposed from C up to E . We could
nudge it down a semitone to D, but that
would bring it too close to our melody
note of C, so instead we’ll go up to E,
which works much better. The same thing
goes for the G in bar 2, which we adjust
up to an A.
NEXT MONTH Dave ventures out into the swamp in search of some blues theory
9
Here’s the melody I’ve come up with,
using the notes D, C, A, G and F. The D
natural minor scale uses the notes D, E, F,
G, A, B and C, so our melody qualifies as
diatonic, since all its notes are found in the
parent scale of D minor. Finding a
harmony a third above it should be a fairly
simple task, except that we need to keep
an eye on that borrowed G major chord.
12
Let’s look at what’s happening over
that borrowed G major chord in bar 3.
The melody plays a D over this, and the
minor third transposition that created the
harmony has resulted in an F, which
actually sounds pretty good. Another
option we have is to strengthen the chord
by shifting the harmony note to the root of
the chord: G. Either way works well.
March 2016 / COMPUTER MUSIC / 81
Designer
sounds
with Break
#20
Synth percussion
Break rolls out some top-end to help keep a track’s
pace and feel, using Synapse Audio’s Dune 2 synth
Synth drums have been a big part of music
for quite a few years, and there are many
different approaches for creating them.
Synthesising drums or percussion can be
quite time consuming and fiddly when you
start from scratch, so I often choose to use
ready-made patches in drum machines.
Despite this, the flexibility that comes from
creating your own can be really beneficial when
producing a track, as each element can be
>Step by step
controlled exactly as you wish. I’ve always found
I’m more likely to use things I’ve made myself in
one of my own tracks, as the satisfaction factor
is higher than just loading up a pre-made kit.
Synapse Audio’s Dune 2 is a really quick and
intuitive synth for patch design – the output of
the synth is far from the thin and digital sounds
you get with some software synths. Once you
add some analogue-sounding plugins, such as
tape, drive, compression and EQ to the
DOWNLOAD
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examples on your PC/Mac at
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individual channels and the drum bus, the
synthesised percussion we’re about to make can
really start sounding like a high-quality
outboard drum machine.
In this tutorial, I’ve focused on percussion
that works well as a loop to layer with a dance
beat. The great thing about using a synth in this
scenario is that tweaking a few parameters can
vastly change the character of the sounds, so
creative ideas can happen really fast.
Creating synthesised percussive top-lines using Dune 2
TUTORIAL
FILES
1
I’ll start with the hi-hat, so load up a
Dune 2 synth and select the Init patch
(Patch » Initialise Patch). In the Osc
Mixer, turn all the oscillators down and the
Noise up to full. In the noise section (in the
oscillators’ 3/N page), turn the LP filter
down to 15220Hz to slightly remove the
ultra-top-end high frequencies. I’m adding
a bit of stereo Width too – 40%.
4
Next comes an EQ boost at 3kHz, then
the compressor, which gives about
2dB of gain reduction with fairly fast
Attack and Release times. I’ve blended in
some of the dry signal, too. The Air mode
seems to give more detail and clarity for
the hi-hat, and having the compressor
after the reverb brings the reverb tail up
and glues the whole chain together.
82 / COMPUTER MUSIC / March 2016
2
5
Next to shape the Amp Envelope. Set
Attack to 23% and Decay to 38%, with
Sustain and Release both at 0. Play notes
on the keyboard while editing to hear the
sound take shape. Next, set the Filter
Type to CL Highpass 4p, and set the
Cutoff to 55% to remove the lowfrequency noise. Set the filter’s Drive to
47% for some extra crunch.
Next, I program in some MIDI notes to
hear the hi-hat in the context of a loop.
By varying velocities, you can see how
dynamic the sound can be. In the Dune 2
Settings page there’s a Velocity Section –
I’ve set the Volume parameter to 100%,
with the Velocity Curve set to -38, which
gives some more variation in the playback
of the notes.
3
Now for effects – click FX Bus 1. I’m
using Distortion, Reverb, EQ and
Compressor, in that order. I’ve used the
Hard Clip setting in the distortion module,
with a little Drive and a Wet/Dry of 50%,
which dulls the extreme high frequencies
and adds some body. For the Reverb, I’ve
used the Ambience setting with low Time
and Wet/Dry settings for subtle space.
6
I’m adding a kick drum to a new
channel now to use as a sidechain
input – I’ve programmed a simple four-tothe-floor pattern. Add a compressor to the
hi-hat channel and use the kick to pump
it via the sidechain. Here I’m using
Softube’s emulation of the Valley People
Dyna-mite compressor.
designer sounds / make music now <
Break
RECOMMENDED LISTENING
PLASTIKMAN, SPASTIK
MAKE A CHANGE
This whole track is just synth
drums and percussion, made
in 1993! It’s amazing how the
programming and effects of
the percussion keeps the
track rolling for eight minutes.
One of the best things about making synthesised
drums is that any parameter can be changed quickly
using your DAW’s automation. Try automation of
pitching or filtering for use in build-ups, reverb during
edits, or changing envelopes on different hits – it can all
be drawn alongside your MIDI notes, making for a
more interesting listening experience.
bit.ly/PlastikmanSpastik
Touted as ‘the DnB
producer’s DnB
producer’, Break – aka
Charlie Bierman – has a
discography that’s
seen him sign tracks
to the likes of
Metalheadz, RAM,
Critical and Shogun, as
well as his own imprint,
Symmetry. His latest
album, Simpler Times, has just
been released to rave reviews
after smashing up festivals and
clubs this summer.
www.symmetryrecordings.co.uk
PRO TIPS
GOT IT ALL WORKED OUT
KRAFTWERK,
TECHNO POP
This track from the synth
masters has really interesting
drums, showing great use
of creative panning, pitching
and reverb.
bit.ly/KraftTechnoPop
7
Now to make a clap for the beat.
Initialise another Dune 2, and turn all
the Oscillators’ levels down. In the Noise
page (3/N), set LP to 1205Hz, HP to
2081Hz, and the Width to full. Let’s make
some mod assignments in the matrix: set
MSEG1 to modulate the Noise Volume by
+100, and MSEG2 to modulate the Noise
Volume (again) by +25, as above.
The FX Bus 1 section gets Distortion,
EQ, Reverb then Compression. I’m
using the Hard Clip distortion mode again
to control peaks, and a big 11dB boost on
the EQ at 10kHz for some brightness. The
Plate Reverb set at 0.4s with some predelay brings the dead-sounding clap to
life, and the Vintage compressor is set
with a very fast attack and slow release.
10
Getting the timing right can take your tune to the next
level, making things like drum decay, sidechain release
and reverb pre-delay more musical. There are many
BPM calculators available online, or you can do it the
hard way: divide 60 by your BPM to get the number of
seconds one beat takes (0.5 seconds at 120bpm), then
divide this in half a couple of times to find some
‘musically logical’ values (250ms, 125ms and 62ms).
Another example? OK, 140bpm: 60/140 = 429ms;
divided by two is 214ms… 107ms… 54ms…
8
Edit MSEG 1, drawing in four spikes,
creating sharp lines as above, between
0 and 0.1s. Each spike acts as a synthetic
clap in the way that four people clapping at
once would create four transients close
together. The last spike should have a
longer tail, reaching out to 0.4s. You can
change the curve shape of a segment by
clicking and dragging.
11
Now for a woodblock sound to finish
the groove off. On another Dune 2, set
Oscillator 1’s type to WT, and select the
Transients Wavetable with Waveform 22.
A Density of 32 gives us 32 voices, and
Oscillator Reset makes them all start at
the same time for a punchy start to each
note. Turn the Amp Envelope’s Sustain
level to 0% and its Decay to 20%.
9
On the MSEG 2 edit page, I create the
above shape from three nodes, with a
tail of 0.8 seconds. This helps fill out the
body of the synth clap noise layer. For the
main filter, I set a CL Bandpass2p with the
Cutoff at 67% and Resonance at 35%. The
filter Drive is set to 100%. I’ve also set the
Unison Voices Amount to 5, helping
thicken up the clap.
12
Now activate FX Bus 1’s Distortion on
Overdrive mode and leave it as is,
then activate the Reverb, turning its Time
to 1.3s and its Wet/Dry to 20%. I’ve
cranked up the master Volume of this
Dune 2 to 70% and then drawn a few MIDI
notes into the arrangement for a
woodblock rhythm to finish off the
percussion loop.
March 2016 / COMPUTER MUSIC / 83
Geek
Technique
with Owen Palmer
#17
Transient intricacy
This month our resident expert shows you how to keep your
attack transients tight for a clear and well-defined mix
First impressions are important, but
human perception is a wonderfully
complex and often mysterious thing. We
think we know what we’re experiencing, but
in reality we’re just trying to make the most of
whatever information we have, and even that
information is selectively filtered by our
subconscious minds. As such, details we
might consciously deem as trivial can turn
out to be critical components of perception.
>Step by step
Ever tried to tell sliced apples from sliced
potatoes when you’re blindfolded and your nose
is pegged? Without their respective scents and
visual clues, it’s more difficult than you might
think! Similarly, in musical instruments, the
initial attack transients are often overlooked as
an indication of quality and character. Although
almost instantaneously quick, attack transients
deliver those all-important unconscious first
impressions – ignoring them can leave a mix
DOWNLOAD
See the video and get the audio
demos on your PC/Mac at:
vault.computermusic.co.uk
feeling jumbled and incomplete. EQ alone can’t
solve problems with transients, as it’s a static
process (meaning that it doesn’t respond to
transients; it’s simply applied to the entire signal,
indiscriminately). A good compressor can often
help, but compression alone doesn’t always
offer sufficient control over transients. Good
transients should at least cut through a mix, and
the perfect transient will be clear without
sounding uncomfortably sharp.
Separating transients from tails to gain extra control
TUTORIAL
FILES
1
4
In this tutorial we’ll take a really close
look at transients, exploring the
various attributes that contribute to
making them perfectly suit whichever
type of music you’re into. This may seem
an oddly specific goal, but unkempt
transients can really let a mix down,
whereas refined transients can help to
make it shine.
Since transients signify the initiation of
a sound, we generally expect them to
emanate from a well-defined location. Let’s
make incisions in the sides signal and use
fades to smooth the transients.
Interestingly, the stereo illusion works
much better without sharp transients in
the sides component.
84 / COMPUTER MUSIC / March 2016
2
Super-sharp, ultra-wide stereo
transients can be problematic, as we’ll
see in the following steps. Among this
month’s Tutorial Files you’ll find
TransLoop1M.wav and TransLoop1S.wav
– these are the separated mid and sides
components of a single loop that should
be played simultaneously to make up the
full stereo image.
5
Let’s add a kick and snare to the mix
(TransLoop2.wav). The transients are
mono, so there’s no issue there, but the
hits aren’t slicing through the mix enough.
We need to separate the transients from
the tails, so that we can process them
separately. It’s impractical to do this for
every sound in the mix, but the kick and
snare are high-priority elements here.
3
The issue is that the loop is putting out
information that our brains find
conflicting. The clear transients in the mid
component of the signal make for sharp,
well-defined starting points on each hit,
but the clear transients in the sides
component confuse the position of the
loop’s source in the stereo field. Our ears
can’t locate the sound.
6
To separate the transients, simply cut
them off and move them to separate
channels. If you’re not sure where to make
the cuts, zoom in. The transient part of the
waveform is slightly rougher than the
main body of the sound. Snap your cut to
the first zero-crossing after the roughness.
geek technique / make music now <
Owen Palmer
PRO TIPS
RETURN OF THE TRANSIENTS
HEAVY-HANDED
When an instrument with very prominent transients
goes through a reverb send, those transients usually
dictate a lot of the returned reverb character. This is
because transients are typically louder and/or have a
broader frequency range than the body or tail of a
sound (particularly with acoustic instruments, but
very often synth parts too). If you’re savvy, you might
use an dedicated reverb send for important
instruments so that you can insert a transient shaper
before the reverb plugin. This enables you to either
raise transients for a more broad, washy reverb
sound, or soften them for cleaner reverb tails that
correlate more with the sustain character of the
source instrument. I’d warn you, though, to make sure
you’re happy with the tone of the dry instrument
before messing with transients on the send, or you
could end up with severe workflow challenges.
Don’t take this out of context, but I reckon transients
love to be man-handled. They’re delicate in the sense
that it doesn’t take much to potentially ruin them, but
from another perspective, you may feel the need to
(lovingly) force them into submission, as I do with the EQ
and limiting technique below. For cleaner mixes, or
transients that are already very close to where you want
them, you’ll find that some gentle saturation is
supremely effective. If you’ve beheaded (separated)
transients from their instrument bodies, it’s still wise to
EQ pre-saturation. Pay careful attention to frequencies
above about 10-12kHz, because they seldom sound
good when loud and sustained – if they’re present at all,
make sure they’re at least a little quieter than the rest of
the frequencies. One of my favourite tricks is to use
multiband compression to ensure transients have
appropriate punch in each frequency band.
7
Put a limiter or any other plugin that
prevents digital overshoots on each
transient channel. Insert a parametric EQ
before the limiter on each channel, and
stick a frequency analyser after each
limiter. We’re using Voxengo’s free SPAN
with 4096 Block Size, no Smoothing,
zero Slope, and minimum Overlap and
Avg Time values.
Now that the kick and snare transients
are well polished, we need to avoid
other transients in the mix clashing with
them and undermining our hard work.
TransLoop3.wav contains layers for the
kicks and snares, introducing
simultaneous transients – exactly what we
don’t want! Remove the transients from
the layers, fading in their tails.
10
8
The idea is to smooth the frequency
response of the transients with the EQ
so that they’re nice and full. This approach
to EQing doesn’t apply to the kick or snare
if you haven’t first isolated the transients,
because then you can’t get a view of the
transients’ frequency spread. Also, EQ
curves that might work for the transients
would likely destroy the tails.
11
Create a buss for everything in the mix
apart from the kick and snare
channels, but include all send effects. Now
you can trigger Xfer Records’ LFOtool via
MIDI, following the rhythm of the kick and
snare like a sidechain compressor, but
much faster – hopefully fast enough that
listener doesn’t consciously hear the brief
silences that the plugin introduces.
NEXT MONTH Owen broadens the horizons of reverb processing
As an in-demand
dance music engineer,
Owen’s worked with a
slew of outstanding
underground artists
behind the scenes
from his London
studio. After years of
meticulously studying
what makes a great
production tick, Owen
has promised to share his most
advanced and coveted techniques
each month exclusively in
. Get
in touch with Owen about this
month’s subject at…
www.owenthegeek.com/cm
9
EQ will cause the transients to overlap
the tails, because all EQs introduce
phase changes. You have three options:
take no further action, if it sounds good;
render the EQed transients and chop them
to where the tails start; or put fades on the
tails to make more room for the transients
– which is also a sneaky trick for increasing
transient definition!
12
Let’s check the whole mix before and
after. With all our enhancements
active, it feels a lot tighter and better
defined. As a bonus, we may even be able
to squeeze a little bit more volume out of
the overall mix without smashing the
transients too hard. Make sure you check
out my Pro Tips above for further insights
into handling transients.
March 2016 / COMPUTER MUSIC / 85
Dr
Beat
with Ronan Macdonald
#14
Congas and bongos
Our physician of phunk puts skin to skin
Ronan Macdonald
Having
previously
served as Editor
of drummer’s
bible Rhythm as
well as
Computer
Music, Ronan is
clearly the right
man for this
particular gig. He’s been playing drums
for over 30 years and making music
with computers since the 90s.
>Step by step
Continuing our surface exploration of the
Latin percussion family, we come to its two
most technical and tonally nuanced members:
congas and bongos.
The congas are a set of one to four long, flooror stand-mounted (depending on whether the
conguero is sitting or standing) drums made
from staves of wood, like barrels, or fibreglass,
giving a louder, brighter sound. From lowest to
highest, they’re named tumba, conga, quinto
and requinto. The conga is used for the solo
option; conga and quinto for a two-drum setup;
and tumba, conga and quinto for the three-drum
rig, which is as far as I’ll be going for the
purposes of this tutorial.
DOWNLOAD
See it in video and get the
tutorial files on your PC/Mac at
vault.computermusic.co.uk
The bongos are a pair of far smaller stave- or
solid-constructed drums – the little one called
macho, the larger one hembra – again available
in wood and fibreglass, and mounted on a stand
or held between the knees. Generally speaking,
the congas are meant to play a relatively
constant and underpinning role, whereas the
bongos can be more frenetic and ‘lyrical’.
In this tutorial, I’ll show you the basic conga
and bongo patterns and demonstrate their
practical application alongside acoustic and
electronic drum parts. I’m going to be using
Ableton Live’s Latin Percussion Live Pack, since
it features a pretty good range of conga and
bongo articulations.
Programming a basic Latin rhythm with congas and bongos
TUTORIAL
FILES
1
Here’s the rhythm that serves as the
foundation of the majority of conga
(and bass) patterns in Latin dance music:
‘tumbao’, played on a single drum (the
conga). It comprises a very specific series
of 16 strokes, involving the heel and
fingertips of the left hand, combined with
open strokes and slaps in the right hand.
4
The foundation bongo pattern in Latin
dance music consists of this eightstroke sequence, played almost entirely
on the smaller bongo, the macho: slap,
fingers, open, thumb, slap, fingers, open
(hembra), thumb. Live’s bongo patch
doesn’t feature a thumb stroke, so I’m
using its Heel articulation instead.
86 / COMPUTER MUSIC / March 2016
2
Let’s bring in a second drum: the
bigger, lower-pitched tumba. All I have
to do is move a few notes over from the
conga to the tumba to change the rhythm
up significantly. I’ve also thrown in a little
triplet fill at the end, being careful to keep
the articulations sounding authentic –
triplets are very important in Latin music.
5
Here’s a rather more developed bongo
pattern, involving accented hits
(called repique) and ‘rolled’ multi-finger
hits, which are helpfully supplied in Live as
separate articulations. Check it out more
full in the video tutorial. Never forget the
importance of leaving spaces in the
groove, enabling it to breathe.
3
Two congas are often enough, but if
you’re feeling confident with your
programming, you can always add the
quinto for a third, higher-frequency voice.
You can also hear some flams (closely
played pairs of hits) at the end of my
pattern. See it all in more detail in the
video version of the tutorial!
6
Many congueros mount a pair of
bongos over the top of their congas.
To maintain that authentic feel when
programming conga/bongo combos,
remember that they’re being played by
one pair of hands, so think of them as a
single set of five drums rather than one
set of two and another set of three.
NEXT MONTH Ronan shows us how to wield virtual claves and timbales
© Timothy Saccenti
88 / COMPUTER MUSIC / March 2016
a-trak / interview <
A-TRAK
The former DMC Champion
and Kanye West’s DJ of choice
reveals how remixing and Logic
helped him find his own sound
“Like a lot of young kids, I fell in love with
music,” explains Montreal-born DJ and
producer Alain Macklovitch, better known as
A-Trak. “But whereas most of my friends
chose the guitar or the drums, I chose the
turntable. Scratching was going to be my
musical weapon.”
By all accounts, he made the right choice. In
1997, aged just 15, Macklovitch became the
youngest-ever Technics/DMC World Champion,
feted by legendary turntable names who were
literally old enough to be his father. (You
can check out that DMC-winning set at
bit.ly/AtrakDMC; even after almost 20 years,
it’s still jaw-droppingly awesome.)
For a few years, Macklovitch doggedly stuck
to the Technics, winning virtually every
competition that he entered and scratching for
emerging DJ software names like Serato. But
with the encouragement of his brother, David –
one-half of Canadian funksters Chromeo – he
began drifting into the world of beats, remixes
and then full-on production. His current CV is
seriously impressive, boasting everyone from
Dillon Francis and Dizzee Rascal to Armand Van
Helden and Kanye West – the latter even invited
A-Trak to be his tour DJ.
His latest single, We All Fall Down – released
at the end of last year and featuring a soulful
vocal from Jamie Lidell – surprised some with its
bouncing, Calvin Harris-esque hooks, but
Macklovitch makes no apologies for dabbling in
different genres.
“When I first started out, I called myself a
turntablist, and all I had to work with was vinyl
and turntables,” he recalls. “Eventually, I realised
that if I wanted to push my sound, I had to
change the way I worked. And y’know
something? I’m OK with that. That’s progress.”
Computer Music: What was it about
scratching that got you so excited?
Alain Macklovitch: “At the time, I was heavily
into hip-hop, listening to artists like the Beastie
Boys, DJ Shadow and Qbert. Scratching was the
guitar solo of the world I was living in. Some kids
get off on a screaming Les Paul and a Marshall
stack, but I was transfixed by the crazy sound of
the turntable. I would listen to something by
Qbert and think, ‘How the hell did he do that?’
Some of the stuff he was doing didn’t even
sound humanly possible!
“When I heard that it was just vinyl and a
turntable, I rushed straight back to my parents’
house and started ‘scratching’ on my dad’s
record player. I guess most hip-hop kids have a
go at scratching at some point in their lives, but
when they can’t make it sound like DJ Hurricane,
they just give up.
“God knows how, but the first time I tried it, I
was… OK. It kinda sounded like I wanted it to
sound. It sounded a little bit like it did on a
record. So, for the next few months, I annoyed
the hell out of my family and ruined most of my
dad’s record collection. Eventually, I got a
second-hand 1200 and spent every spare
moment practicing. Sure, I started winning a few
competitions, but I didn’t actually think I was
that good.”
: You became DMC Champion at 15 and
didn’t think you were ‘that good’?
AM: “OK, winning the DMC was a step up, but I
just thought there was going to be a kid like me
in every city in every country, all over the world.
March 2016 / COMPUTER MUSIC / 89
> interview / a-trak
: Was it all about hardware back then? No
computer, no MIDI, no software?
AM: “Yeah, it was all Technics, Gemini and
Vestax mixers, and a big bag of vinyl. But I was
actually involved with the software side of
things quite early. After the DMC win, I got flown
out to the NAMM show every year by one of the
companies that sponsored me, and I got to hear
about programs like Serato and Final Scratch
way before they hit the streets.
“My friend DJ Craze had been part of the Final
Scratch development team and I also met the
guys from Serato, back when it was just a demo
plugin for Pro Tools. I had a mess around with it
and their package seemed much more solid
compared to Final Scratch. We stayed in touch
A-Trak grew up in the days of
hardware and vinyl, but soon
realised the potential of
electronic production
90 / COMPUTER MUSIC / March 2016
“Pro Tools allowed me to grab the best four or
eight bars of a kick drum track instead of
having to do the whole thing by hand”
and I became a beta tester for them, right up
until the actual release of Scratch Live.”
: Did the software side of DJing
immediately make sense to you?
AM: “[Laughs] Not at all. For anyone of my
generation, it was all about hardware and vinyl.
Software flipped everything on its head and, for
a while, it was too much for me to take in.
“But the thing you’ve got to remember is that
a bag of vinyl weighs a hell of a lot, and DJs
began to realise, ‘Hey, with Serato, we don’t have
to limit ourselves to the vinyl we can carry.’ You
ask any DJ and they will have a horror story
about travelling with vinyl. You struggle through
© Steve Garfinkel
“It was around that time that I met Qbert and, of
course, I was totally excited about meeting one
of my heroes. He asked if he could film me for
this thing he used to do called Turntable TV, and
I was so confused because I couldn’t work out
why the hell this legend would want to film me. I
was just a kid from Montreal.”
the airport, you check it in, you hope to God they
don’t lose it, you have a heart attack when your
vinyl ends up in LA and you’re in Amsterdam.
“This was also the start of the age of the
mash-up, so every DJ was hungry for more
music – music that could be transferred and
traded while you were on the road. The
combination of these factors, plus the technical
aspects of Serato, meant that there was a subtle
but definite shift within DJ culture… a shift
towards software.”
: To the point where you started to
investigate DAWs?
AM: “Actually, I’d already got Pro Tools and I’d
had a bit of experience with Cakewalk. If we
rewind to just after I won the DMC
Championship, my brother – way before
Chromeo – was working as a hip-hop producer
with local bands. His setup was the family PC,
Cakewalk and an S950. Both of us were working
in the basement of our parents’ house, and we
naturally began to swap knowledge and ideas. I
would look over his shoulder and, almost by
osmosis, I started to learn about producing.
“At the time, I was making a few beats of my
own, but I was literally scratch-producing four
minutes of music by hand. I’d grab a kick drum
and scratch it for four minutes, a snare, hats, a
couple of bass notes and an interesting lead
line… all scratched from my record collection,
layered and mixed on a Tascam multitrack. I
loved the actual live feel of the beats I was
making, but it was driving me crazy. Four
minutes of kick drums, right on the beat, is not
an easy task.
“Pro Tools had a great reputation for handling
audio, so that’s the platform I was looking at.
Unfortunately, Pro Tools was way out of my
price range back then – it was the kind of thing
you only found in expensive professional
studios. Then I heard about Pro Tools LE and,
suddenly, it became affordable for people like
me. Sure, $1500 was still a lot of money back
then, but I was gigging and making decent
money, so I jumped in.
“I was still scratching, still practicing my art,
but Pro Tools allowed me to grab the best four
or eight bars of a kick drum track instead of
having to do the whole thing by hand. DJ
Shadow was working in the same way, but he
was on the MPC.
“Then there was the whole thing of
portability. If I was making music with vinyl and
decks, it meant I could only make music when I
was at home, sitting in the basement. If my
setup was in the laptop, I was free to make music
pretty much anywhere.”
: But all the music you made was sample/
scratch-based? No synths or drum machines?
AM: “Although there were plugins available for
Pro Tools and I did actually try a couple of them,
they caused all sorts of CPU and freeze
problems. At first I wasn’t too bothered, but I was
beginning to take a passing interest in other
© Steve Garfinkel
a-trak / interview <
These days, A-Trak’s live
setup is a relatively
stripped-down affair
forms of electronic music, not just hip-hop. I
wanted to experiment with different sounds and
tempos. No one wants to make the exact same
song for the rest of their life… that just doesn’t
make sense!
“By 2003, I was beginning to listen to some of
the French stuff like Daft Punk, the Ed Banger
label and Simian Mobile Disco from the UK.
These guys were making club tracks, but they
still seemed to have the grit and the feel of a
hip-hop record.
“At first, I started investigating an early
version of Reason, because that gave me
immediate access to synths. With Reason, I
could create my distorted basslines, but
somebody showed me Ableton Live, and I found
that it was easier to program in Ableton than it
was in Reason. Not to mention the fact that you
could record audio in Ableton.
“So, there I am, using Reason for synths, but
ReWiring that to Ableton for programming and
audio. When it came to mixing down, I knew Pro
Tools better than both of the other programs, so
I bounced the track over and mixed it there.”
: You were certainly getting your money’s
worth out of each program!
“I didn’t feel
comfortable enough
to put everything in
the hands of just
one program”
AM: “Yeah, the whole thing was way too
complicated, but the truth was that I didn’t feel
comfortable enough to put everything in the
hands of just one program. And the results I was
getting were… pretty good. As a producer, I was
still learning my way around, and my technique
wasn’t too heavy-handed.
“If you look at the average club track today,
you’ve got so many synth sounds and so much
music fighting for space that you really have to
work hard at getting a mix right. But I came from
the hip-hop school of production, where things
are a lot simpler. The beat sounds too dry? Let’s
add little reverb. There’s not enough top end?
Let’s tweak the EQ.
“The guy who taught me to get a little more
adventurous was XXXChange [aka Alex Epton,
originally one half of Spank Rock]. He would
craft all these bizarre sounds, recording street
noise and sending it through a Roland Space
Echo. He showed me that effects could be used
to create their own sound – you don’t just use a
delay on vocals.
“And he was also using Logic, which seemed
to answer all those questions I’d been asking
myself in the studio. Here was a program that
was powerful, it had great effects, great synths,
you could record audio, and it didn’t cause your
computer to crash every two minutes. I
switched over to Logic around version 7 and
stayed with that until last year, when I finally
moved to Ableton.”
: You were using Ableton way before you
used Logic. How come you never made it
your main DAW?
AM: “At first, you’ve got to remember that
Ableton was a live tool, and that’s what I used it
for – it was great for mash-ups. Obviously, as
time went on, more and more people were using
A-Trak’s current applications of choice include Vember
Audio’s Surge synth and DJing software by Serato
Kit list
HARDWARE
Technics SL-1200MK3D
SOFTWARE
Apple Logic Pro 9
Serato Scratch Live
Waves Gold Bundle
iZotope Ozone 6
Native Instruments Kontakt 5
Native Instruments Massive
LennarDigital Sylenth1
Xfer Records Serum
Spectrasonics Omnisphere
Vember Audio Surge
u-he Diva
March 2016 / COMPUTER MUSIC / 91
> interview / a-trak
A history of A-Trak… live
but it didn’t work as well as I’d hoped. It was
great for mash-ups, though!
“These days, it’s just me with a couple of
turntables, Serato and a bunch of visuals.
That might not sound like a ‘live’ show
to some people, but I can guarantee
you that it’s far more ‘live’ than
some guy firing off 24 loops from
Ableton and adjusting the
occasional fader. What I do
differs every night… it’s me,
live on those turntables,
utilising the skills I’ve learned
over the last 20 years.”
© Grady Brannan
“My first gigs were turntable gigs. I didn’t
even call them DJ gigs because I wasn’t
mixing a bunch of tunes; I was scratching. I
suppose it was like a kid learning jazz
guitar, building up a bunch of licks and
tricks that would become my musical
vocabulary. It took about two or three years
before I did what you’d call a DJ set, but that
soon became a new passion in its own
right… just being exposed to so much
different music.
“In terms of a live show, I started
experimenting with Ableton, Serato and a
couple of MIDI footswitches in about 2005,
Ableton in the studio – I looked at some of the
stuff Skrillex was doing and the workflow was so
quick – but I was never completely happy with
the sound of Ableton until version 9.
“I still have Logic and I’m still a fan, but there’s
something about the way you can throw things
together in Ableton that makes everything so
much quicker, fresher and more enjoyable.”
: At the same time as you were making
your name, your brother Dave was helping
turn Chromeo into one of Canada’s most
successful electronic acts. Is it natural for two
brothers to exchange ideas in the studio?
AM: “A lot of my early productions were
remixes, and Dave was great at listening to
something and immediately spotting what was
wrong: the kick’s too loud, there’s not enough
bass, that bit’s too long… he’s got a great ear.”
: There was a point where you were
knocking out seven or eight remixes a year.
AM: “Some people do a remix and they do the
same thing over and over. I’m not saying that’s a
“Man, I even came up
with a type of musical
notation that could
be used to transcribe
scratching!”
92 / COMPUTER MUSIC / March 2016
bad thing, because some record companies will
go to a certain artist for precisely that reason.
My approach was different, though – every
remix for me was a totally new song. I remember
doing a remix for Robyn [2010’s Indestructible],
and wondering if I could turn the song’s Abbastyle disco strings into a dirty, LCD Soundsystem
post-punk, post-disco thing.
“When I was asked to remix Kanye West’s
Stronger, I wanted to take the Daft Punk
vocoder section and really glitch it up. I started
to break the whole thing down and began
pitching and playing with individual syllables.
Some people might only get that deep into a
production for one of their own songs, but I felt
like I was finding my sound by working on other
people’s music. I learned how to produce my
own music by remixing.”
immersed in that scene. Man, I even came up
with a type of musical notation that could be
used to transcribe scratching! But I don’t regret
a single moment of the time and the
commitment that I gave to the turntable,
because it’s what got me where I am today.”
A-Trak’s We All Fall Down Remixes EP – featuring
remixes by Stfu, Jaykode, Cory Enemy & Syre,
Dombresky, Willy Joy and Esquire – is out now.
www.foolsgoldrecs.com
HEAR MORE
: Which handily brings us to the recent
release with Jamie Lidell, We All Fall Down.
Are there always going to be A-Trak fans who
want you to make dark, minimalist cut ’n’
paste tunes like, say, Enter Ralph Wiggum?
AM: “Probably, but that was nearly 20 years ago.
Electronic music has moved on a lot since then,
technology has moved on a lot since then, the
whole scene in the US has shifted on its axis…
and I’ve heard a lot of different music in those 20
years. Things change. What more can I say?”
We All Fall Down
bit.ly/atrakWAFD
Push (ft. Andrew Wyatt)
bit.ly/atrakPush
WWW
: How’s your scratching these days?
AM: “My hands were probably a bit nimbler
when I was 15, but these days I see turntablism
as just one tool that I can use, alongside Massive
and Sylenth and Battery. In the beginning, it was
the only tool because my entire life was
atrak.com
soundcloud.com/a-trak
twitter.com/atrak
www.facebook.com/atrak
reviews <
The latest computer music gear tested and rated!
Our promise
We bring you honest, unbiased
appraisals of the latest computer
music products. Our experts apply
the same stringent testing methods
to all gear, no matter how much
hype or expectation surrounds it.
What the
ratings mean
1-4 A seriously flawed product
that should be avoided
96 IZOTOPE OZONE 7
What more could you possibly add to
this huge in-the-box mastering
package? Find out over the page
98
MeldaProduction
MXXX
5
This product’s problems
outweigh its merits
6
A decent product that’s only
held back by a few flaws
7
Solid. Well worth considering
8
Very good. A well-conceived
and executed product
9
Excellent. First-rate and
among the best you can buy
10
Exceptional. It just doesn’t get
any better than this!
See and hear the latest
software in action in our
2
‘2 Minutes With…’ videos!
Wherever you see the icon, head
straight to the Vault download
area or our YouTube channel
for a rapid-fire showcase of that
product’s essential features and
sonic capabilities.
youtube.com/computermusicmag
VIDEO
MINUTES
WITH…
100
UVI
Falcon
102
Soundtoys
Soundtoys 5
104
LSR Audio
VLB 902 De-esser
106
kiloHearts
Multipass
108
LiquidSonics
Reverberate 2
110
XLN Audio
DS-10 Drum Shaper
Awarded to products
that challenge existing
ideas and do something
entirely new
A product has to really
impress us with its
functionality and
features to win this one
If the product
exceeds expectations
for its price, it will
receive this gong
112
Mini Reviews
In the opinion of the
Editor, the best product
reviewed in the
magazine this month
March 2016 / COMPUTER MUSIC / 95
> reviews / izotope ozone 7
FILE/EDIT
Import WAV, AIFF, MP3
and FLAC, pick your
audio driver and set
myriad preferences
TRANSPORT CONTROLS
Includes precise playback position
and total running time of all
imported audio files
MAIN WINDOW
Edit the selected module
here, with detailed visual
feedback for most of them
METERS
Set and
compare input/
output levels
with accurate
RMS and peak
monitoring
WAVEFORM VIEW
Navigate playback of
up to 16 imported
audio files with the
cursor, and create
fade-ins/outs
AUDITIONING
Bypass with
optional loudness
compensation,
check your master
in mono and apply
MBIT+ dither
MODULE SLOTS
Load up to six
freely
rearrangeable
modules, including
third-party plugins
VIDEO
PRESETS
Presets for specific mastering/
mixing tasks to get you started
MINUTES
…
2 WITH
HISTORY/SETTINGS/HELPS
Compare A/B/C/D settings, view
undo history, configure Ozone and
open the PDF manual
E
E
iZotope
Ozone 7
£169/395
The busy bees from Boston are back again with yet another edition of
their flagship mastering powerhouse, packed with exciting new features
Ozone is iZotope’s acclaimed all-in-one
mastering system, intended to provide all the
tools you need to produce professional-quality
masters, with dedicated modules covering
everything from EQ and dynamics to limiting
and stereo image processing. Like version 6
(10/10,
212), Ozone 7 lets you construct a
mastering chain of up to six modules and comes
in standalone and plugin formats (VST/VST3/
AAX/AU). For an extra £170, you can step up to
Ozone 7 Advanced, which boasts three more
modules, iZotope’s Insight Metering plugin
(8/10,
190), ten of Ozone 7’s modules in
individual plugin form, and the new Codec
Preview feature (see Cracking the Codec).
Key elements carried over from previous
versions include the Maximizer module, with
iZotope’s proprietary Intelligent Release Control
(IRC); the Imager four-band stereo image
adjuster; the four-band harmonic Exciter;
parallel/multiband compression with adjustable
96 / COMPUTER MUSIC / March 2016
detection filters; and analogue and digital EQ
modes, with fully adjustable phase response (all
the way up to linear phase) and Match EQ mode
for the latter. Useful general features include
stereo, mid/side and left/right operation; undo/
redo history; A/B/C/D compare; loudness
compensation mode; and clear graphical
metering throughout for visualising what each
module is actually doing to the mix.
Although Ozone is intended for mastering,
some renegade producers and mix engineers
have been known to use it as a mixing tool.
While iZotope acknowledge this occasional
repurposing, they’re keen to emphasise that
Ozone is not designed to be a general-purpose
channel strip – audio quality is always the main
development consideration, and some of the
modules can be very heavy on the host CPU.
iZotope Alloy has a similar architecture to
Ozone, but its modules are less resource-hungry
and thus are far better suited to mixing duties.
“Like version 6, Ozone
7 lets you construct a
mastering chain of up
to six modules”
Module citizens
First among Ozone 7’s new modules is the
Vintage Limiter, based on a Variable Mu design
like the much-sought-after Fairchild 670, but not
intended to specifically emulate that classic
hardware. We found Vintage Limiter’s three
modes to offer more of a smooth, coloured
sound than the existing Dynamics and
Maximizer modules. Analog mode features a
izotope ozone 7 / reviews <
“If mastering is your
main gig, the
Advanced version
is an essential addition
to your setup”
quick attack and variable release time that lets
your bass breathe nicely. Tube mode has
variable attack and release times, and sounds
great on transient material. Finally, Modern
mode is the quickest, mixing analogue-style
non-linearity with IRC limiting and transient
reproduction – it’s the least vibey mode of the
three, but the most precise.
Also new in Ozone 7 is a fourth IRC algorithm
for the Maximizer module, aptly named IRC IV.
This works using a technology that iZotope call
Spectral Shaping. Effectively, IRC IV makes
spectral adjustments in response to the input
signal’s frequency spectrum in order to prevent
peak frequencies causing unwanted distortions
when limited. You could think of it as a real-time
frequency-flattener. IRC IV will, for example,
gently even out the frequency response of a
kick drum that’s too boomy, rather than let it
distort the vocals or instruments when limited.
IRC IV can be switched between Classic,
Modern and Transient modes. Classic mode is
said to be most similar to earlier Ozone limiting
algorithms, while Modern and Transient modes
are designed to provide greater clarity and
detail (the latter specifically optimised for
maximum transient preservation). All three
modes sound exceptional – it’s in the upper tier
of limiters, for sure – and of course, you still have
the Character slider, increasing or decreasing
the speed of the overall Maximizer response
time to help hone the sound.
Users coming from the standard version 6 to
Ozone 7 will be pleased to learn that the
Dynamic EQ module first introduced in Ozone 6
Advanced is now part of the Standard package,
enabling you to make responsive tonal
adjustments to the mix only when selected
frequency bands pass an adjustable threshold.
Fine Vintage
Ozone 7 Advanced edition also includes the new
Vintage Tape, Vintage EQ and Vintage
Compressor modules. Vintage tape is modelled
on the Studer A810 tape machine, with a typical
set of tape machine tonal controls (Bias,
15/30IPS, Low/High Emphasis) but none of the
With today’s
compressed
media, Ozone’s
Codec Preview
is a godsend
Cracking the codec
Despite its new Vintage modules,
iZotope have aimed Ozone 7 squarely
at today’s music producer. In 2016,
you’re unlikely to be catering to the
cassette tape market, but it’s
reasonable to assume that your
polished masters will be consumed via
lossy, compressed media much of the
time. Digital music stores and services
like SoundCloud and Spotify typically
use MP3 or AAC format to keep storage
and bandwidth usage to a minimum.
Of course, the problem is that, since
these formats remove particular
details from the sound, some of the
hard work you’ve put into getting your
master sounding perfect might be lost.
For example, a master that peaks at
hiss, wow and flutter associated with using the
real thing – good for gently sweetening and
softening a mix. Vintage EQ is based on the
revered Pultec EQP-1A and MEQ-5, with the
classic curves that the original hardware is
known for overlaid on top of a spectrum
analyser. Lastly, Vintage Compressor is a
feedback compressor not based on any
particular piece of hardware, but generally
emulating the tone and movement imparted by
classic analogue designs.
All the Vintage modules help to add depth
and sheen to the mix, with their authentic
analogue warmth and subtle saturation.
Lucky 7
It seems that iZotope have done it again. Ozone
continues to democratise the dark art of
mastering and, with its outstanding module
designs and helpful presets, really does put pro
results within the reach of users at pretty much
all levels. Version 7 cements the software’s place
at the very top of the digital mastering tree, and
if mastering is your main gig, the Advanced
version is an essential addition to your setup.
Ironically, Ozone’s newest modules are of the vintage
variety, adding analogue-style depth and tone
Web www.timespace.com
Upgrade V7 Standard from V1-6 Standard, £67;
V7 Advanced from V1-6 Advanced, £135;
V7 Advanced from V1-6 Standard, £169
-0.05dB in your DAW (or Ozone 7
standalone) could clip heavily when
converted to MP3. You might also
notice artifacts in the stereo field.
Ozone 7 features MP3 and AAC
export, so that you can deliver the final
files directly from the software; and
Ozone 7 Advanced introduces Codec
Preview, which lets you audition MP3and AAC-compressed playback at
various bitrates – in real time, so you
can adjust the modules in accordance –
before exporting. This helps to set an
appropriate output level and may even
inform any EQ decisions. You can even
solo the codec artifacts to just hear
what’s being removed, plus any
distortion added by the encoder.
Alternatively
Slate Digital Mix/Master Bundle
N/A » N/A » $20/month
Some of the best-sounding
processing plugins on the market
FabFilter FX Bundle
N/A » N/A » £602
Beautiful, intuitive interfaces and
mastering-grade effects
Verdict
For Easy to use
Superb, beautiful interface
AAC/MP3 export
Delicious new Vintage modules
Codec preview in Advanced version
Against Only six module slots
Not all modules have dry/wet mix
We’d like more oversampling options
With its new Vintage modules, IRC 4
Maximizer mode and clever Codec
Preview feature, Ozone 7 makes genuinely
effective mastering easier than ever
10/10
March 2016 / COMPUTER MUSIC / 97
> reviews / meldaproduction mxxx
BAND EDITOR
Define and monitor up six
frequency bands, each one
hosting a full module matrix
LEVEL METERS
Monitor the levels of individual
bands, outputs and inputs, plus
stereo width
MULTI PARAMETERS
Define up to 16 macro
controls per preset
MODULE
MATRIX
Select, route
and insert
plugin modules
GLOBAL
CONTROLS
Sample rate,
automatic gain
control (AGC),
limiting, MIDI
assignments and
snapshot settings
LANE
ACTIVATORS
Engage or
disengage the
six lanes
EFFECT DISPLAY
Controls for the currently
selected plugin module
appear here
MODULATORS
Click one of 16 modulator
tabs or the arpeggiator to
reveal their controls
VIDEO
MINUTES
…
2 WITH
MeldaProduction
MXXX €99/€999
What can you possibly add to the line of plugins that has everything?
How about a tool for mixing and modulating them all together?
MeldaProduction produce a vast array of
high-end plugins, covering everything from
the mundane to the marvellous, with most
boasting an unashamedly complex design and
fundamental feature set. Indeed, for every
enamoured user there’s another suffering GUIinduced migraine. MXXX, however, has the
potential to change all that…
XXX action
MXXX (VST/VST3/AU/AAX) is a modular system
that enables the algorithms and parameters of
any of Melda’s plugins (sans their multiband
aspects – see the Melda mania box over the
page for details) to be combined and modulated
within one multiband ‘shell’. There’s two
versions: the full MXXX (including 76 modules
based on Melda’s plugins – crucially, you don’t
get the plugins for use outside MXXX) and
MXXX Core (allowing access only to modules
based on plugins you’ve bought separately).
98 / COMPUTER MUSIC / March 2016
MXXX offers two distinct interfaces: Easy and
Edit. Easy comprises a preset browser and a
controller pane. Presets can be selected from a
range of categories: Purpose (Mastering, Mixing,
etc), Instrument (Vocal, Bass and the rest of the
band), Type (Modulation, Dynamic and more),
Character (Phat, Clean, Distorted and so on) and
Flag (Sidechain, Low-CPU, etc). Selecting tags in
the grid filters the preset list down, and when a
preset is loaded, its associated tags are
highlighted. Green highlighting means a preset
is suited to that tag, Red means it’s very
specifically suited to that tag, and Blue means it
“The 500+ presets
have been created by
Melda’s user base”
requires specific additional input (usually MIDI
or an audio sidechain).
The 500+ presets have been created using
MXXX’s modular system by Melda’s user base
and subsequently tweaked by the company
themselves. There really is something here for
every possible production purpose, from the
self-explanatory (‘British Overdrive Stompbox’),
the utterly mysterious (‘Stretcher-Reverser
Ambient Reverb’), and the extreme (‘Who are
you and what did you do to my drums’).
The window below holds MultiParameter
controls (Melda parlance for macros) tailored to
each preset. These are assigned by the preset
designer but can be edited by the user. They can
involve almost any parameter of every plugin
used within the preset, and more than one
parameter can be controlled by each
MultiParameter. So, you could assign individual
controllers in a compressor preset for threshold,
gain and ratio, or have one MultiParameter
meldaproduction mxxx / reviews <
“Automatic routing
keeps this potentially
mind-blowing system
under control”
controlling all three together… or even have
both individual and combined controls.
Melda’s entire
range of effects
is potentially
available in
the matrix
Close to the Edit
Clicking the Edit button takes you to the heart of
MXXX: a modular routing matrix with 96 slots
arranged in six lanes, which are summed at the
output, and each of which can host any of your
installed Melda plugin modules. The interface of
the currently selected module appears in the
panel to the right of the matrix, including access
to its own preset library, and modules can be
routed between lanes and combined in any
order you like, including multiple destinations
for each one. Melda’s automatic routing keeps
this potentially mind-blowing system under
control by establishing the most likely routing
for each module added, although you can ‘go
manual’ and create your own intricate signal
flows instead, of course.
All in all, it’s a creative, freeform setup that
works well, and the source signal for the effect
matrix can either be the main input or a
sidechain source (audio or MIDI). Extensive
randomisation functions make instant preset
conjuration easy, generating either totally
random variations, smart randomisation
(altering only parameters most likely to produce
usable variations) or minor tweaks.
As if that wasn’t enough, the graphical Band
Editor at the top splits MXXX into up to six
frequency bands, each containing its own
dedicated matrix, for mind-bendingly flexible
multiband processing. The full library of presets
can also be loaded, edited and saved per band.
Each and every plugin can be modulated by
any of up to 16 modulation sources (each one
chosen from LFO, Follower, Envelope, Random
and Pitch), plus an arpeggiator.
The summed output of the plugins in the
matrix ends up at Melda’s standard output
section, which features filtering, automatic gain
control, limiting, output metering (including perchannel level, mid/side and stereo width), and a
Difference option that lets you hear only the
parts of the input signal being modified. MXXX
also offers up to eight channels of surround
output, and up to 16x oversampling.
The Easy view offers a clever colour-coded
browser and access to key controls
Melda mania
MeldaProduction’s roster of plugin
effects comprises 82 distinct signal
processors, from bitcrushers and
harmonic shapers through analoguestyle filters, amp emulators and other
studio staples, to complex stereo
manipulators and more esoteric tools.
The Melda design/workflow ethos is
an acquired taste, but one well worth
acquiring. The plugins generally sound
excellent and have extensive feature/
control sets and modulation. The Melda
brand is also synonymous with
multiband processing, which they’ve
applied to almost every production
process imaginable. MXXX is no
different, offering six bands of
processing, each playing host to its
own matrix, which can be copied from
another band, loaded from the preset
library or created independently.
The price of power
There are plenty of reasons to recommend
MXXX, and if you total up all the effects in the
full version, the mammoth €999 price tag
actually represents a saving of more than 50%
over buying them individually, assuming that
you don’t mind running them in MXXX rather
than individually (and if you can stretch to
€1299, you can get the MTotalBundle, which
includes MXXX). Nonetheless, we can’t help
thinking it’s still too high – even die-hard Melda
fans are unlikely to buy all of their plugins
separately. The real joy of MXXX lies in having
access to its stunning collection of presets, but
much of that joy is lost if a huge chunk of it has
to be bought separately on an as-required basis,
as is the case with the Core version. Perhaps a
pricier Core that allowed access to all the
presets but only let you edit the parameters of
the component plugins you’ve bought
separately might be a better proposition.
Pricing issues aside, MXXX is a success,
making Melda’s sometimes impenetrable but
often wonderfully creative plugins much easier
to get into, while offering extraordinarily deep,
elaborate programmability. We’d go so far as to
say that it’s unprecedented in its breadth, depth
and flexibility.
Web www.meldaproduction.com
MXXX’s 76 modules are usually
functionally identical to the standalone
versions, although some actually
improve on them (eg, longer delay
times). None of the multiband plugins
are included (for obvious reasons,
MXXX itself providing the exact same
multiband goodness); the excellent
MPowerSynth is onboard, however.
If you like hyper-complex
modulation and über-powerful
multiband surround processing, and
think instruction manuals are for
wimps, Melda have long been the
developer for you. And now, for those
who find a screen full of bewildering
options and labels the stuff of
nightmares, MXXX’s excellent preset
system and easy modular routing make
these often intimidating plugins rather
more approachable.
Alternatively
Plug & Mix Chainer
N/A » N/A » $99
Hosts P&M’s entire range of effects,
plus third-party plugins, and even
works as an AAX wrapper
Mu-Tools MUX
193 » 9/10 » €59
Modular synth and effects plugin,
with modulation controls, that also
hosts third-party VST plugins
Verdict
For Hugely, insanely powerful
Staggering range of effects
Simple when you want it to be
As complex as you could need
Intuitive smart routing
Excellent modulation
Against Full version is very expensive
The pricing structure may deter some, but
if you have the cash, there’s practically no
processing job MXXX isn’t more than up to
9/10
March 2016 / COMPUTER MUSIC / 99
> reviews / uvi falcon
TABBED INTERFACE
Edit Programs, apply effects, events
and modulation, and even access
scripted components of patches
VIEW
Swap between Main, Mixer
and Performance tabs
PARTS PAGE
Edit the current
Multi’s Parts list
alongside specific
Part components
(Tree) and global
Part settings (List)
VIDEO
BROWSER PAGE
Browse Programs,
Oscillators, Effects,
Multi-effects
chains, Events and
Modulation sources
MODULATION
INDICATORS
Modulation
destinations
include real-time
indicators to show
modulation activity
PROGRAM STRUCTURE
View the elements of your sound in the Edit
panel – Layers, Keygroups and Oscillators
are shown at the top, and Modulations and
Mappings are at the bottom
MINUTES
…
2 WITH
UVI
Falcon
£225
Swooping down from the sonic skies, this feathery new entry
into the ‘power synth’ market wants to prey on your productions
Parisian developers UVI are best known for
their free UVI Workstation sample-based
synth and the many high-quality UVI Soundbank
sample libraries that can be bought and loaded
into it. Their latest instrument, Falcon (VST/AU/
AAX/standalone), also loads UVI Soundbanks,
but expands massively on UVI Workstation,
offering much more in the way of editing and
other forms of synthesis – generally, it’s far
closer in style to MachFive, the sampler they
developed with MOTU, than UVI Workstation.
Size matters
Structurally, Falcon is multitimbral, with a Multi
(.uvim) patch containing unlimited Parts. A Part
is a slot for a single Program, with associated
level fader, inserts and auxiliaries in Falcon’s
Mixer, while a Program (.uvip) is the main soundgenerating patch, with Oscillators assigned to
Keygroups, which are then combined in Layers.
Although unusual for a synth, this sort of
100 / COMPUTER MUSIC / March 2016
structure is very typical for a sampler.
So, Falcon’s patches are constructed from
Oscillators, Effects, Modulators and Events (MIDI
generators), dragged into the main interface
from the Browser. It launches with the central
pane showing the Main view, which houses five
tabbed pages – Info, Edit, Effects, Events and
Mods – and switches to represent the currently
selected Part. Access to the list of Parts within a
Multi is gained via the foldaway three-tab panel
on the left, where you’ll also find a breakdown of
each Part’s components (Program layer,
Keygroup, effects, etc) and Part-specific settings
such as MIDI channel, polyphony and so on.
To the right of the Main screen is the
foldaway six-tab Browser panel, providing
access to any installed UVI Soundbanks and
Falcon Factory (see below). The other five tabs
handle Oscillators, Effects, MultiEffects
(preconfigured chains of Effects), Event
Processors and Modulation presets, all of which
we’ll come back to shortly. There are numerous
presets available for every element, making the
patch-building process a fast, drag-and-drop
affair if you want it to be.
The Main screen can also be switched to two
overall Multi views: Mixer (a global mixer with
inserts and four hardwired auxiliaries) and
Performance (an overview of the Multi’s Parts).
In practice, however, most of the action takes
place in the Main view Edit page, with foldaway
slots for Oscillator, Keygroup, Layer and
Program at the top, and Modulation and
Mapping at the bottom. Various elements
– Oscillators, FX, Mods and Events – can be
hidden to clear window space. All told, it’s a
reasonably elegant interface, considering the
potential complexity of an elaborate Multi patch.
Millennial Falcon
With 15 Oscillator types onboard (seven
sampling and eight synthesis), Falcon gives
uvi falcon / reviews <
“Overall, Falcon is an
ambitious, powerful
instrument of a type
that certainly doesn’t
come along every day”
access to a massive palette of sound sources,
including virtual analogue (Analog and Analog
Stack), four-operator FM, Wavetable and Drum
synthesis. For sample playback, there’s Sample
(regular mode), Slice and Stretch, and four
engines created by French music research
institute IRCAM (Granular, Multi Granular, Scrub
and Stretch). Further, more esoteric synthesis
types include string physical modelling (Pluck),
audio and image file import (Wavetable), phase
distortion (Wavetable), Noise (15 types), and an
eight-drawbar Organ.
The raw sounds are augmented by 82 Effects
(23 of them from UVI Workstation), including
your typical EQ, filter and modulation
processors, as well as some less commonplace
ones (Biquad and Vowel Filters, Big Pi Tone fuzz,
et al), plus three visual feedback devices
(Spectrum Analyzer, Tuner and Phase Meter).
For parameter modulation, there are eight
internal Modulator types, including regular
envelopes (AHD, Analog ADSR and AD), a Multi
Envelope with unlimited breakpoints, Step
Envelope, LFO, plus limitless Macros.
Finally, MIDI data is generated by Event
Processors, which include Arpeggiator, MIDI File
Player, Micro Tuner and user-modifiable Script
Processors written in the Lua scripting
language. You can edit the included Factory
Scripts (Chorder and Harmonizer, for example)
or make your own from scratch. Scripting
requires an external text editor, which can be
launched from within Falcon.
Bird land
The included Falcon Factory sound library
(630MB) includes many wavetables and source
samples for the Granular patches, and
comprises 458 Programs in 20 categories –
arps, basses, chords, pads, polysynths, etc.
There are some awesome patches in there, and
Falcon really excels at rich pads and edgy,
aggressive tones, and the solid basses are
worthy of mention, too. Further highlights
include the arpeggios, and the Granular, Sub
Drones and Experimental folders, with their
many ethereal textures.
The Effects tab provides a more focused,
easier-to-edit view of Falcon’s effects processors
With its sample playback options, Falcon ably handles loops, pitched instruments and one-shots
Sample power
Key to Falcon’s success are its sample
import and manipulation features.
Pretty much every audio file format
worth supporting is supported – AIFF,
FLAC, MP3, MP4 (with QuickTime
installed on Windows), REX1, REX2, SDII
(on Mac), WAV, WAV64, SND and CAF –
although the only compatible sampler
formats are SoundFont and UVI’s own
Soundbank (UFS); ie, no EXS, Kontakt,
HALion, etc.
On the sample manipulation front,
Falcon gives plenty of options. Slice, for
example, includes editable markers
and full export of slices as individual
files, and so is ideal for carving up drum
loops. Stretch (and the better-sounding
IRCAM Stretch), meanwhile, allow
We do feel that there should be more content
included, though. Falcon includes a $100 UVI
Soundbanks voucher, but given UVI’s history
and Falcon’s sample playback capabilities, they
surely could have put together a ‘highlights’
package from their many libraries. That said,
existing UVI Soundbank owners will be
delighted to get full editing of their favourite
libraries right down to the level of individual
samples – something previously only possible in
MachFive, and not necessarily supported by it
for recent Soundbanks.
Overall, Falcon is an ambitious, powerful
instrument of a type that certainly doesn’t
come along every day. Two main factors
turbocharge its essentially fairly straightforward
architecture: the number of simultaneous
Oscillators, Keygroups and Layers being limited
only by the power of the host CPU; and Effects
and Modulators being applicable at the
Keygroup, Layer and Program levels, with
Events at Layer and Program levels. The lack of
additive synthesis aside (the only type we can
think of that isn’t included), it has enough
flexibility to serve as your primary source for all
manner of sounds – although you’ll probably
need to buy a few UVI Soundbanks to achieve
that goal.
Web www.timespace.com
sounds to be pitched without altering
their timing, and assist in convincingly
transposing samples across keyspans
– just the thing for multisampled
keyboard instruments and the like.
Of the two IRCAM Granular
oscillators, our favourite is Multi
Granular, which adds up to eight unison
voices with offset timing and sample
start position. It includes a Grain size
Variation parameter and Grain Reverse,
both of which can lead to some
seriously warped sounds.
Other power features include Apply
FX, for permanently applying any of
Falcon’s effects to loaded samples; and
playback looping, which can be set to
forward or forward/back.
Alternatively
Spectrasonics Omnisphere 2
220 » 10/10 » £278
Massive sample library, sample
import and supercharged synthesis
Native Instruments Reaktor 6
225 » 10/10 » £169
Design patches from scratch
or fire up one of over 70
ready-made instruments
Verdict
For Copious sound generation options
Massive modulation potential
Big effects palette
Drag-n-drop component presets
Slick interface
Against Pricey
Bundled library should be bigger
Capable of generating and processing a
vast array of sounds, Falcon is a very big,
powerful bird indeed – shame its included
soundbank isn’t similarly large, though
9/10
March 2016 / COMPUTER MUSIC / 101
> reviews / soundtoys soundtoys 5
PRESET MENU
Browse, load and save
presets, and A/B
different settings
RECYCLE
Blend the Effect Rack output back into
the input for powerful feedback effects
SIZE
Resize the Rack to
suit your display
SYNC
CONTROLS
Set the global
tempo – you can
still use modules’
individual Sync
controls, too
EFFECT PRESET
TOGGLE
Open the preset
browser for the
individual effect
TWEAK MENU
Access additional
controls for many
Soundtoys effects
VIDEO
MINUTES
…
2 WITH
TOOLBOX
Drag and drop
effects into the
main rack window
EFFECT BYPASS
CONTROLS
Solo or Bypass
effects units
in the Rack
PRODUCT INFO
Click the Soundtoys logos to read about
the hardware that inspired each effect
Soundtoys
Soundtoys 5
$499
The ’Toys’ latest full version update has been five years in the making –
but does time spent in development correlate to quality of results?
New releases from Soundtoys are infrequent
but highly anticipated, and routinely hailed
as future classics. It’s been five years since the
last major version update to their flagship
effects bundle (Soundtoys Native Effects V4 –
10/10,
152), though, so can Soundtoys 5 (VST/
AU/AAX) stand out in today’s busy market?
Comprising all 18 plugins in the current
Soundtoys catalogue, one of them a virtual rack
within which to house the others (see On the
Rack, right), its prospects look good on paper,
but let’s go through them one by one, starting
with a very quick run-down of those we already
know and love from v4.
FilterFreak 1 and 2 are go-to filter plugins for
many producers, offering such delights as
rhythm modulation sequencing and a
convincing Analogue mode. PanMan draws
inspiration from auto-panning pioneers like
Audio & Design’s PanScan and is itself now a
recognised industry standard. EchoBoy is a
102 / COMPUTER MUSIC / March 2016
modern studio staple, taking its lead from a
range of hardware legends including the
unforgettable MemoryMan. Tremolator offers a
taste of Fender’s Vibrolux amp and others, but
goes further, enabling powerful sequenced
gating. Crystallizer hints strongly at Soundtoys’
Eventide H3000 heritage (the company
founders designed it, essentially), slicing up
audio and pitchshifting the consequent chunks.
Decapitator was the first saturation plugin to
“EchoBoy is a modern
studio staple, taking its
lead from a range of
hardware legends”
tempt many big-name producers away from
their Ampex 350s, EMI TG Channels, Neve 1057
preamps and Thermionic Culture Vultures.
And PhaseMistress takes iconic boxes like
Mutron’s BiPhase and adds 24-stage phasing,
relegating a number of proud pedals to a box
underneath the SSL.
The new blood
Following the release of Soundtoys Native
Effects v4, the Soundtoys catalogue has
continued to expand, and all nine plugins added
since 2010 are also included in the v5 bundle.
Devil Loc Deluxe (and smaller sibling, Devil
Loc) are based on Shure’s M62V (aka Level Loc),
a late-60s vocal compressor subsequently
reinvented as a drums squasher – it scored 9/10
in our review in
166, so we won’t get into it
again except to say that it’s great for heavy and
characterfully distorting compression.
Radiator recreates the sound of Altec’s 1567A
soundtoys soundtoys 5 / reviews <
“PrimalTap is one
of the best and
most distinctive
delay plugins that
money can buy”
tube mixer, immortalised on countless Motown
hits. The original’s Treble and Bass EQs are
present, as is the Gain control, delivering over
90dB of boost (with optional authentic noise),
and the Mic/Line input selector. Radiator is
perfect for adding character to just about
anything you throw through it – transparency
certainly isn’t the name of the game.
Ever wondered how some 80s synth patches
sounded so lustrously wide? They were
probably mixed using the Eventide 910, Eventide
H3000 or AMS DMX 15-80S, employing the trick
of pitchshifting one channel up a little and the
other down, then delaying the timing of either.
Soundtoys MicroShift condenses this technique
down to two main controls, Detune and Delay
(offsetting the timing of the L/R signals), and
three model switches, calling up the sounds of
the aforementioned hardware. Beyond that,
Focus progressively removes low and mid
frequencies from the effect.
Boy wonder
LittleAlterBoy combines technology from
Soundtoys’ first release, Pure Pitch, with
saturation from Decapitator to create a variety
of vocal pitching effects. The pitch section’s two
(linkable) dials, Pitch and Formant, do what
you’d expect, while three pitch processing
modes – Transpose, Quantize and Robot – switch
between regular transposition, T-Pain style hardpitching and locking the input signal to a single,
user-defined pitch. The Drive dial adds grit to
the end product, and the Dry/Wet knob allows
parallel processing. The resulting range of
effects is awesome, and the MIDI control feature
lets you pitch the signal via MIDI input, turning
the plugin into a robotic voice player (in Robot
mode) or harmonizer. LittleAlterBoy can do
wonderful things to rhythmic sources, too.
Next, PrimalTap, modelled on Lexicon’s late70s/early-80s game-changer, the Prime Time
digital delay. Its processing centres on dual
independently edited and modulated delay
lines, configurable in Classic, Parallel, Ping-Pong,
Reverb, Series and Criss-Cross modes, with the
Each Soundtoys plugin features an information window
describing its inspiration and functionality
A large
collection of
excellent presets
showcase the
potential of the
Effect Rack
On the rack
While all of Soundtoys’ plugins are
available individually, only Soundtoys 5
gets you their Effect Rack, a virtual
enclosure in which groups of
Soundtoys effects are piled up and
saved as self-contained chains.
To build (or rearrange) your rack,
you simply drag and drop modules into
and out of the main area from and to
the sidebar. Each effect has its own Solo
and Bypass controls, and the rack itself
has master input and output Gain
controls, a Dry/Wet balance knob, and a
Recycle knob that controls the amount
of output signal fed back into the input.
A global tempo control for the rack as a
whole can be set manually, triggered
via the Tap Tempo button, or synced to
the host clock.
original’s sound-defining Multiply feature
opening up longer delay times by progressively
dropping the sample rate with each
multiplication of the base time (x2, x4, x8). A
VCO modulator is independently applicable to
each delay line for lush chorusing, while the
Freeze function captures a chunk of signal for
manipulation. It all conspires to deliver
everything from flanging and pitch wobbling to
ring modulation-style effects. PrimalTap is one
of the best and most distinctive delay plugins
that money can buy – alongside EchoBoy!
In addition to that lot, three cut-down ‘Little’
versions previously used as marketing freebies –
LittleRadiator, LittleMicroShift and
LittlePrimalTap – have been thrown in, too.
It’s testament to the quality of Soundtoys’
algorithms that even their most venerable
plugins – now over a decade old – have stood
the test of time, and the ten new additions make
what was already an essential collection of
effects for producers in all genres even more so,
despite their odd idiosyncrasies and sometimes
fiddly interfaces.
We’ve often heard it said that it’s hard to get a
bad sound out of a Soundtoys plugin, and that
remains very much the case with version 5 of
their amazing bundle.
Web www.soundtoys.com
11 categories of Effect Rack presets
are included, too, from Guitar, Bass and
Vocals through to the more esoteric
Sound Design and Modulation.
It’s all great stuff, but we’d like to see
input/output metering added (things
can get pretty heavy, pretty quickly)
and more advanced audio routing
options – the signal flow is inflexibly
top-to-bottom. Also, none of the ‘Little’
effects are available in the Effect Rack,
including LittleAlterBoy – Soundtoys
tell us LAB’s latency is the issue, and
that they’re working on it. Also, macro
controls assignable to multiple
parameters of effects in the Effect Rack
would be welcome, but the lack thereof
is sort of made up for by its excellent
host automation handling.
Alternatively
MeldaProduction MXXX
227 » 9/10 » €999
For twice the price you can
get the most full-on processing
suite known to man
Plug & Mix VIP Bundle
193 » 7/10 » $249
45 plugins for half the price,
plus a racking system to combine
them (and third-party plugins)
Verdict
For Lovely new effects
Existing plugins are still awesome
Effect Rack is ace
Brilliant presets
Superb value
Against A few effects missing from the
Effect Rack
There are 18 compelling reasons to buy
Soundtoys 5, and none not to – the leading
effects bundle reaffirms its classic status
10/10
March 2016 / COMPUTER MUSIC / 103
> reviews / lsr audio vlb 902 de-esser
VIDEO
MINUTES
…
2 WITH
LSR Audio
VLB 902
De-esser
$99
LSR continue down the path of classic emulation with a true
golden oldie: the simple but effective DBX 902 de-esser
Back in the halcyon decade of the recording
studio – the 1980s – there was one dominant
option when it came to de-essing: the DBX 902,
a 500-series ‘lunchbox’ module commonly
racked up in groups of four or five. The DBX ‘90’
range also included the 903 compressor, 904
gate and 905 EQ, but none of these were as
popular as the 902 de-esser. There were two
main reasons for this: the 902’s simplicity, and
its effectiveness.
LSR Audio’s plugin emulation of this classic,
VLB 902 (AU/VST/RTAS/AAX), comes in a
window that takes up two 500-series ‘slots’.
A faithful replication of the original hardware
occupies the left half, while a set of all-new
listening modes takes up the right.
The controls don’t take long to get your head
around. The In switch at the top activates the
unit, while the HF Only switch below toggles
between full-band reduction and just highfrequency reduction when esses are detected.
Next to these is the ten-stage LED-style Gain
Reduction meter – a fast-acting display that
clearly shows how many decibels your esses are
being reduced by. The 902 uses a VCA to control
the ‘ess’ level, with the Frequency knob setting
the target frequency above which sibilance is
detected, and the Range knob controlling the
amount of sibilance reduction required.
In the right-hand panel, you can switch
between listening to the main de-essed signal
output, the Detector signal and the isolated DS
signal. Simply use the Detector monitor while
moving the Frequency knob to identify the
problem band, then switch over to the DS signal
while twiddling the Range knob to hear what’s
being rejected.
sometimes you need something that ‘just
works’, and in that regard, VLB 902 is more or
less perfect.
Web www.lsraudio.com
Memory lane
We’re quite familiar with the hardware version,
and it was a joy to fire VLB 902 up and get
impressively similar results equally quickly and
easily, targeting and dispatching vocal sibilance
in a very subtle, transparent way. Yes, you can
get your singer to lisp by turning the Range up
too much, but if you keep it within the
recommended ‘Norm’ quadrant, you’re pretty
much guaranteed excellent results in an instant.
It also works well on non-vocal signals in which
high frequencies are an issue (see Beyond the
Voice, below).
All in all, VLB 902 is a very faithful
reproduction of the original DBX 902, both
inside and out. If you’re familiar with the original,
you’ll immediately feel at home and quite
possibly a tad nostalgic as you hear those esses
melt away with minimal effort on your part, the
added monitoring features making setup even
easier, if that’s possible. It might lack many of the
features you expect on a modern de-esser
plugin, such as attack and release times, Q,
lookahead and mid/side processing, but
Alternatively
FabFilter Pro-DS
187 » 10/10 » £114
Straightforward and effective
de-esser with many more features
Toneboosters TB Sibalance
N/A » N/A » €20
For those who crave modern
tweakability, this one is the big
brother of our own Sibalance CM
Verdict
Beyond the voice
Although invented with vocals in mind, the
de-esser can be equally useful for sorting out
certain other sounds of an overly harsh or
bright nature. Drum loops that have gone
through abusive processing can end up with
overly sharp hi-hats and cymbals, and the
902 in HF-only mode aimed at around 1.8kHz
does a great job of controlling the nastiness.
The other instrument that can sometimes
be saved by a good de-essing is steel-strung
acoustic guitar, particularly if it’s one with
104 / COMPUTER MUSIC / March 2016
new strings and/or when bar chords are
involved and the player scrapes up and down
the fretboard in between them. Use the
Detector monitor on the 902 to tune into the
scrapes, and the Range to reduce them to
listenable levels.
Occasionally, you might need to de-ess a
full mix during mastering, but that’s
definitely not a task for the 902, demanding
far more surgical precision than the original
or LSR’s emulation are capable of.
For Simple
Effective
Incredibly authentic
Detector signal monitoring
De-ess signal monitoring
Against Lack of surgical features won’t
satisfy the perfectionist
A flawless recreation of one of the best
de-essers ever made, VLB 902 gets the
job done with no mess or fuss
9/10
> reviews / kilohearts multipass
MACROS
Eight knobs freely
assignable to multiple
Snapin parameters and
available as LFO targets
PRESETS
Pick from plenty of
bundled presets, and,
of course, save your own
MODULATION SOURCES
Use any of the five modulation
sources to bring movement to
most Snapin parameters
SIDECHAIN
Route in an
external signal
for use as an
envelope
modulator and/or
LFO trigger
POST FX
Add Snapins to
process the final
full-band signal.
A good place to
insert a limiter
PRE FX
Process the
full-band signal
prior to the
band splitter
MULTIBAND
PROCESSING
Set crossover
frequencies for
the five bands
MIXER
For each band, control balance and pan,
wet/dry mix, and the amount of signal
sent via the Post FX to the output
FX LANES
Select Snapin modules
from the dropdown
menus in each band
VIDEO
MINUTES
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2 WITH
kiloHearts
Multipass
From $99
Combining multiband processing with a modular architecture, will this
ambitious and expandable new effects platform give us palpitations?
The core concept behind Multipass is
wonderfully straightforward. A VST/AU
effects plugin, it splits the input signal into up to
five discrete bands, each with its own effects
lane, into which you can drop as many effects
modules – called “Snapins” – as you like (CPU
permitting, of course).
As well as the five band lanes, Snapins can
also be inserted into the full-frequency signal
before or after the band splitter, in the Pre FX
and Post FX sections on the left and right. To
marry it all up, there’s also a comprehensive
modulation system and mixer controls, with
which all sorts of dynamic effects patterns can
be created.
Snapin specifics
Each Snapin is actually a full plugin that can also
be loaded into a VST/AU host on its own, and you
buy Multipass with five, ten or 17 Snapins
included (not of your own choosing, alas).
106 / COMPUTER MUSIC / March 2016
The ‘Basic’ Multipass bundle ($99) consists of
Chorus, Delay, Gain, Limiter and Stereo Snapins –
useful, but not much to get inventive with apart
from Stereo, with which you can get some cool
L/R modulations happening.
The Producer Pack ($194) adds in
Compressor, Distortion, Filter, Haas and Phaser.
The Filter is the highlight here, with a choice of
seven curves, and Cutoff, Q and Gain parameters
that can be assigned to any of Multipass’
modulation sources for dynamic and rhythmic
“Faturator and
Disperser can also
be loaded into
Multipass as Snapins”
tonal movement. Applying Distortions (there are
five types onboard) to individual bands and
blending them in subtly can bring some
interesting character to the table, but they tend
to be overly crunchy by nature.
The full Modular Madness bundle ($327) adds
in Bitcrush, Comb Filter, Formant Filter,
Frequency Shifter, Pitch Shifter, Resonator and
Trance Gate. Of these, the Formant Filter and
Trance Gate offer the most creative potential,
the former accentuating vowel sounds for
morphing between using an X/Y pad, the latter a
step-sequenced slicer.
All of the above Snapins can be bought after
the event for $19 each if you don’t initially shoot
for the Modular Madness bundle. Interestingly,
Kilohearts’ other two effects plugins – Faturator
(another distortion) and Disperser (an excellent
phase-distortion effect that scored 9/10 in
194) – can also be loaded into Multipass as
Snapins. They cost $39 each.
kilohearts multipass / reviews <
“The whole thing
positively invites
tweaking and
experimentation”
Five-piece band
To activate a band, you simply turn it on; to set
its frequency range, you drag the handles
around in the Spectrum/Band Splitter area
above. Clicking empty space in a band lane
brings up a menu of your installed Snapins from
which to make a selection, and Snapins can be
freely dragged around and copied from one lane
to another. Each band has its own Solo and Mute
buttons, and every Snapin can be individually
bypassed. It’s all beautifully intuitive.
At the bottom of each band are Gain, Pan and
wet/dry Mix knobs, plus a Post knob, which
governs the amount of processed signal sent to
the subsequent Post FX lane. The Pre FX and
Post FX lanes behave in exactly the same way as
the Multiband lanes, with the same set of mixer
controls minus Post.
The modulation system is very deep. Each
modulation source (eight Macros, two LFOs, two
envelopes and eight MIDI controllers) is
effortlessly assignable to multiple parameters
from throughout Multipass and its loaded
Snapins, and the envelopes and LFOs can be
triggered by any of the five bands, MIDI note-on
messages, or an external sidechain signal.
A good number of presets are included with
Multipass, but it’s so easy to use that you’ll be
coming up with your own mad effect chains in
no time. The range of effects and the interaction
between them is impressive, and the whole
thing positively invites tweaking and
experimentation. As noted, the filters are the
highlights – modulating the Formant Filter
provides hours of entertainment and endless
exciting rhythmic patterns while the lowlights
are the distortion and saturation algorithms,
which are a bit crunchy and unpleasant. Some
tape- and valve-style warmth wouldn’t go amiss.
Multipass is your ticket to designing everything from multiband mix tools to all-out manglers
But… why?
So what sort of thing can you do with
Multipass’ multiband processing? Let’s
use a drum loop, for example: to give it
more beef without adding too much
crunch, you might drop a Distortion
Snapin into a low-frequency band, turn
up the Drive and drag the band
crossovers to just work on the kick
drum area. The Gain for that band
mixer can be set to balance the lowend, keeping the high-end detail clean
and clear.
Let’s say we then want to run the
loop through a delay. Applying it to
the low-end would muddy the sound,
and putting it on the top-end would
make things too busy, so dropping a
Delay Snapin into a mid-range band
Multi kill!
and dynamic processing environment. The
range of Snapins available is good and no doubt
will only get better both in numbers and types .
We’d love to be able to load in full third-party
plugins, though, and it would be awesome if the
platform was opened up to other developers;
but as it stands, Multipass is a fantastic
multieffects plugin with a very bright future.
Multipass is one of the slickest modular systems
of any kind that we’ve come across in software.
Being able to add effect elements into the signal
path wherever you like is awesome, and the
modulation setup turns it into a hugely inventive
Web www.kilohearts.com
Info Basic (with five Snapins): $99
Producer Bundle (with ten Snapins): $194
Modular Madness (with 17 Snapins): $327
does the trick.
We could then add more interest by
dropping a Low Pass Filter into the
same lane below the Delay, and
modulating its Cutoff using an
Envelope to create a wah-wah style
effect on the delay. Even with all this
going on, the top-end detail – hi-hats,
cymbals, etc – remain distinct, clear and
uncluttered, as our effect is only
applied to the mid-range.
That’s really just a very basic
example of the sort of thing you can do
with Multipass. The possibilities are
limitless, and even though many of the
Snapins are quite simple, it’s the way
they can be made to interact that’s key
to their potential.
Alternatively
Blue Cat Audio MB-7 Mixer
198 » 8/10 » €99
Multiband VST/AU plugin host –
include no effects of its own, mind
PSP Audioware PSP N2O
163 » 9/10 » $179
Just one band and filter-centric, but
a powerful amodular multieffect
Verdict
For Effective multiband modular setup
Intuitive GUI
Impressive modulation system
Good filter effects
External sidechaining
Against Basic Snapins bundle is dull
Distortions aren’t that attractive
You can throw as
many Snapins as
you like into any
band to create
intricate setups
A huge and powerful modular setup giving
a vast array of sounds, Multipass is a fun,
easy-to-use effects processing monster
9/10
March 2016 / COMPUTER MUSIC / 107
> reviews / liquidsonics reverberate 2
VIDEO
MINUTES
…
2 WITH
LiquidSonics
Reverberate 2
£80
This powerful convolution reverb has been overhauled and updated
with a number of interesting new features and improvements
In 2010, LiquidSonics’ Reverberate
convolution reverb plugin made a real
impression with us, scoring 9/10 in
142. Now,
almost six years later, we have Reverberate 2
(VST/AU/AAX). As with version 1, the key aspect
of the plugin is its use of two impulse responses
(IRs) at once (if desired). As of v2, though,
Reverberate can also generate algorithmic early
reflections and reverb tails from scratch, and
take advantage of LiquidSonics’ new Fusion-IR
technology (see Fusion Reactor).
The interface is navigated via ten tabs at the
top (the eight of v1 plus Delay and SplitMod).
The IR1 and 2 Edit tabs contain controls for
shaping the early reflections and reverb tail of
each IR, including Predelay, Start, End and
Stretch dials for adjusting the IR’s length, an
ADSR amplitude envelope, and the new Spatial
Enhancer for modifying stereo width. Also called
up in the IR Edit tabs, the ER algorithm includes
controls for setting the virtual room’s type and
Size, and the Diffusion, Separation and Depth of
the reflections; while the Noise Tail Generator
uses random noise with filtering and diffusion to
smoothly progress from early reflections to
reverb tail.
Each IR (or algorithm) feeds into its own fiveband EQ with a choice of per-band filter types,
and a new addition in Reverberate 2 is timedependent modulation of each band. This
simulates the effect of high frequencies echoing
with less strength than lower ones in a real
space by subtly low-pass filtering the reverb as it
decays. The new Sheen control, meanwhile,
adds high-frequency gloss to impulse responses
that are naturally dull.
Conjugating the ’verb
The new SplitMod tab houses controls for
modulating the pitch of each IR’s early and late
reflections, with adjustable split time between
them. This functionality is used by some highend algorithmic reverbs to get a richer sound,
and can be exploited in Reverberate 2 to thicken
up IRs, or as a creative effect.
The three Chorus effects (one for each IR and
a third at the end of the signal path) of v1 are
joined by three stereo Delays (one before each
Chorus) with separate controls for each channel
and the ability to feed one channel into the
other for a ping-pong effect.
The Mixer tab is where the Gains, Pan
positions and Phases of the IRs are controlled,
alongside IR Balance, Final Mix Dry/Wet and
Gain dials, and an LFO for modulating the
panning of both IRs and their relative balance.
Other new features include a five-band Post
EQ between the final Chorus and Delay modules,
with two LFOs; a collapsible preset browser; five
colour schemes; AAX compatibility; and two
MIDI-assignable controls that can be mapped to
many of the plugin’s parameters.
Fusion reactor
Fusion-IR is a new type of processing in
Reverberate 2 that LiquidSonics reckon takes
convolution to a whole ’nother level of
accuracy and realism. Whereas conventional
impulse responses used by (this and) other
convolution processors capture the space or
device being ‘sampled’ in a single state (ie,
without any form of modulation or variance),
a Fusion-IR samples multiple impulse
responses from the source, then modulates
between them on playback. The goal is to
108 / COMPUTER MUSIC / March 2016
replicate the time-varying behaviour of topend hardware reverb, giving a more detailed,
lively, natural sound. Additionally, Fusion-IRs
sample the early reflections and reverb tail
separately, allowing you to balance the two.
It’s powerful stuff, and to show their new
technology off, LiquidSonics have created a
set of Fusion IRs that can be downloaded
from their website for free, including some
sampled from a Bricasti M7 hardware unit.
They sound amazing, needless to say.
Reverberate 2 is flexible and easy to use, and
includes some excellent presets. It does take a
fair amount of CPU running in zero-latency
mode, but the processing latency can always be
increased. One thing that can’t be changed,
though, is the size of the GUI – it’s tiny, cramped
in places, and quite hard to read. That aside,
Reverberate 2 is one of the best convolution
reverbs around, and a steal at this price.
Web www.liquidsonics.com
Alternatively
Audio Ease Altiverb 7
178 » 9/10 » €499
Stunning convolution processor
with tons of bundled real-world
impulse responses
Waves IR-1
N/A » N/A » $249
Hybrid convolution/algorithmic
reverb with over 100 IRs of real
spaces and devices
Verdict
For Excellent value for money
Superb sound quality
Fusion-IRs sound great
Zero-latency operation
Combine two IRs to powerful effect
Well laid-out interface
Against Can be quite CPU-hungry
Scalable UI would help
A sonically impressive, flexible and
intuitive convolution reverb that offers an
expensive sound and potential-packed
Fusion-IR technology at a great price
9/10
> reviews / xln audio ds-10 drum shaper
VIDEO
MINUTES
…
2 WITH
XLN Audio
DS-10
Drum Shaper
€90
The developers of Addictive Drums and Keys have created
this spin-off transient processor – can it get us hooked?
XLN Audio are best known for their Addictive
series of sample-based drum and keyboard
instruments, and one often-overlooked aspect
of them is their excellent onboard effects
processing. DS-10 Drum Shaper (VST/AU/AAX) is
their first Addictive FX, a transient shaper that
combines three drum-specific Modes (Kick,
Snare and Bus) with a trio of shaping algorithms
(Classic, Natural and Smooth).
The Mode is selected using the three buttons
at the top, and the detection and applied gain
curve are optimised for the named drum type.
Bus is the most general-purpose option, working
well with stereo drum mixes, while Snare and
Kick are tailored to the frequency content and
characteristic transient nature of those drums.
The three algorithms influence the overall decay
style, with Classic (the same as Addictive Drums
2’s Shape processor) being quite aggressive and
‘pumping’, Natural more refined, and Smooth
having the smoothest decay of all.
Transient lengthening and shortening is done
via typical Attack and Sustain controls (+/-100%
for each), and further enhancement is provided
by the Mojo control, which affects a particular
‘quality’ depending on the Mode: Tightness in
Kick Mode, Body in Snare Mode and Presence in
Bus Mode. After this you get output Gain,
followed by Soft Clip and Bypass buttons.
DS-10 also features a real-time input signal
waveform display with an orange envelope
trace indicating the gain applied by the
transient shaper.
The shape of things to drum
The choice of algorithm has a more obvious
impact on transient shaping than the Mode
setting. Classic is by far the most coloured of the
three; positive Sustain settings really emphasise
tails of snares in that mode, for example. In
contrast, thanks to its fast attack and initial posttransient release, the Natural algorithm is very
transparent, enabling more careful emphasis of
the tail with the Sustain control. Smooth shares
the same fast response, but with a slightly
gentler initial sustain.
One more consideration is that more
transient gain is applied with the Natural and
Smooth algorithms than Classic. The upshot of
all of this is that the Natural and, to some extent,
Smooth options deliver cleaner, punchier, louder
transients than Classic, and this is most
noticeable with kick drums, where Classic
sounds positively lacklustre in comparison.
The Mojo knob introduces another layer of
frequency-specific shaping that dovetails nicely
with Attack and Sustain, and its tighter settings
are brilliantly effective on kicks and snares,
counteracting some of the frequency build-up
that results from really long Sustain settings. In
Bus Mode, meanwhile, Mojo (Presence) works
well as an enhancer or harshness tamer on
overheads, and we even had some success
applying it to full-frequency sounds such as
acoustic guitar, piano and electric bass.
Our only minor issues with DS-10 are the lack
of input gain, simply to help with gain staging,
and multiband operation (especially for Bus
mode), which could be useful. Ultimately
though, DS-10 is a very useful plugin, offering
more targeted and effective tools for drum
shaping than your typical transient shaper.
Web www.xlnaudio.com
Alternatively
Softube Transient Shaper
218 » 9/10 » $99
Dual-band design with reasonable
flexibility and good CPU efficiency
Waves Trans-X
N/A » N/A » $99
Wide-band and four-band
modes provide transient shaping
for different scenarios
Verdict
Find your Mojo
Drum Shaper’s bipolar Mojo control provides
tailored shaping of its three Modes, and it has
a pretty audible effect, even with the Attack
and Sustain settings at zero. By comparing
processed and unprocessed channels, we can
establish that the Presence (Bus) and
Tightness (Kick) options influence high and
low frequencies respectively. In Kick Mode,
you can achieve much tidier (positive Mojo)
or more flappy (negative Mojo) low
frequencies, while Bus Mojo enhances or
110 / COMPUTER MUSIC / March 2016
curtails high frequencies. The Snare setting is
the most interesting, though, with positive
Mojo really bringing up the mid-range
thickness and negative shortening the decay.
XLN are fairly tight-lipped on what Mojo
actually does, but they’ve indicated that it
delivers frequency-focused transient
shaping, and our findings certainly concur.
Ultimately, Mojo complements traditional
Attack and Sustain processing nicely, giving
another mechanism for fine-tuning.
For Classic mode adds colour
Powerful Natural & Smooth algorithms
Mojo feature for further shaping
Real-time waveform and tracer display
Optional output clipper
Against No input gain
No multiband option
DS-10 brings drum-specific transient
shaping to your DAW, cleanly, simply
and with excellent results
9/10
> reviews / mini reviews
mini reviews
A rapid-fire round-up of sample libraries, ROMplers and music gear
AudioThing
Hand Clapper
€25
Web www.audiothing.net
Format PC/Mac
Inspired by – and hugely improving on – the
classic Boss HC-2 handclap module, the raison
d’être of Hand Clapper (VST/AU/AAX) is the
generating of handclaps. Out of the box, as it
were, it does its thing using a selection of three
round-robin sample sets combined with filtered
noise, emulating the Roland TR-808 and 909,
and the HC-2 itself. Rather splendidly, you can
also load in a sample of your own (a single WAV
up to four seconds long). Although claps and
snares are the obvious candidates, we got all
sorts of weird and wonderful results feeding it
synth shots, vocals, pianos and the like.
A simple set of adjustable parameters enable
shaping of the source signal. The Frequency and
Gain knobs in the Tone section set the cutoff
(500Hz-12kHz) and resonance (0-6dB) of a
band-pass filter, while the all-important
thickening of the clap is done in the Repetitions
section, where the number of claps fired off in
rapid succession (1-7) is established with the
Amount knob, and the temporal spacing
between them is dictated by Rate
(0-30ms). The duration of the final clap in
the repetition sequence is governed by
the Decay time (from 0ms to 2 seconds),
and a user-specified degree of per-note
chaos can be brought to bear on the filter
and volume level with the Random dial.
Full randomisation of all parameters,
meanwhile, is available via the Random
button, which individual controls can be
rendered immune to using the right-click
Lock command (albeit without any visual
indication as to what’s locked and what’s
not). Basic ambience is on tap, too, in the
shape of a plate reverb algorithm.
By default, Hand Clapper is fixed in both pitch
and output level, no matter what the note
numbers and velocities of the incoming MIDI
notes. Activating the Tuned and/or Velocity
modes, however, enables melodic and/or
velocity-controlled play, should you feel like it’s
something you need. You can also switch in a
0dB hard clipping limiter and render the current
Sample Magic
Magic AB 2
sound to a WAV file.
Obviously, Hand Clapper couldn’t be easier to
use, which makes it both productive and fun; but
more importantly, it sounds truly wicked,
perfectly capturing the spirits of the vintage
machines at its heart. and doing crazy things to
external samples. At this price, it’s a winner.
n9/10n
Wave Alchemy
£50
Mutate
£50
Web www.samplemagic.com
Format PC/Mac
Web www.wavealchemy.co.uk
Format PC/Mac
Reviewed in
195, Sample
Magic’s handy A/B
comparison plugin impressed
us enough to garner an 8/10
score. Version 2 (VST/AU/AAX)
is an evolutionary step rather
than a revolutionary one, still
serving the same purpose of
taking the effort out of
switching between the main
output of your DAW and up to nine reference tracks.
There are two main new features, the first of which is the
integration of three playback modes. Now you can Sync Magic AB
to the host DAW’s timeline (ideal for comparing older versions of a
project), lock it to the host DAW’s transport or control it manually.
Secondly, up to four cue and/or loop points can be set up in each
reference track, each with its own name.
You can now drag tracks in directly from your OS and disable
them to save on RAM; The output can be switched between mono
and stereo; the ‘Mini AB’ option reduces the GUI but retains many
controls; and zooming is now done using the mouse.
We’re a bit surprised by the doubling in price since v1 (thankfully
the upgrade is a very reasonable tenner), but Magic AB 2 still
qualifies as an excellent, if not essential, studio solution.
n8/10n
A refreshingly simple proposition,
this Kontakt 5/Player library
comprises two separate instrument
types – Designed Presets and Raw
Waveforms, each with its own
presets – powered by 3.7GB of
samples grabbed from a hybrid
analogue/digital Eurorack modular
synth setup.
The Raw Waveforms NKI features
three main oscillators, each of which
can load one of 42 multisampled waveforms, and a sub-oscillator
with five available waves; while Designed Presets offers 142 looped
multisamples of programmed patches, with filtering and
modulation cooked in, and controls for start point offset and
randomisation. The three-page scripted interface for both
incorporates filtering, distortion, modulation and unison, plus a
powerful 14-lane, 32-step sequencer for modulation of a fixed set of
parameters (pitch, filter cutoff, effects, etc), and Modulation
(Flanger, Phase or Chorus), Reverb and Delay effects.
While it doesn’t do anything original or innovative, Mutate’s
engine is thoroughly usable and flexible enough to get the job
done, while the soundbank is a versatile source of interesting and
edgy sounds, with an emphasis on bass and EDM flavours.
n8/10n
112 / COMPUTER MUSIC March 2016
mini reviews / reviews <
Soundware round-up
Soundiron
Samplephonics
Steel Tones $49
Liquid Gold £35
This deeply mulltisampled eight-tongue Hapi drum
(Google it) for Kontakt 5 boasts a gorgeous scripted
interface that lets you layer two independent instances
of its core instrument, each with its own adjustable
keyspan and sound-shaping controls. The arpeggiator
and effects bring groove and glamour to the Hapi’s
earthy, raw tones, while the icing on the cake is the set
of 56 pads, ambiences and raw waveforms based on
them. We’d prefer all of the articulations in a single NKI
rather than split between eight, but nonetheless, Steel
Tones is unmissable.
R&B and soul are the umbrella genres of this 740MB
sample collection, but any contemporary producer
could put its 255 loops and 170 shots to good use. The
odd but endearing smorgasbord of drum loops –
some full, others just single elements – and stylejumping basslines make for an intriguing start, but the
best things here are the synth and keyboard loops,
which are beautifully played and full of character. We
wish they came with optional reverb and delay tails,
though. Supremely polished, constantly interesting
and frequently inspirational, Liquid Gold shines.
www.soundiron.com
n10/10n
www.samplephonics.com
n9/10n
Zero-G
Loopmasters
Zetamorph £56
Hip Hop Shadows Vol 1 £30
Produced with movie, TV and game composers in
mind, Zetamorph has plenty to offer musicians as
well. Consisting of 515 24-bit/96kHz samples, it’s a
sonically stunning library of risers, fallers, transitions,
textures, impacts, drones and electronic FX in
general, of the kind that dance producers can’t get
enough of. Although quite a few of the samples are
variants of the same core sounds, overall there’s a
good level of variety provided, and the sheer amount
of time and effort that have clearly been invested
easily justify the very reasonable price tag.
12 downtempo, textural hip-hop construction kits
complete with one-shot components and sampler
patches. The instrumentation is imaginative and
diverse, and the production throughout is flawless.
The problem is that although Hip Hop Shadows Vol 1
weighs in at over a gigabyte, there’s not much to each
kit. What you’re really getting here is 12 superb tracks
that you can have a great time deconstructing and
remixing (we highly recommend shooting for the Live
Pack version), but a fairly limited amount of content
for use outside that context.
www.timespace.com
n9/10n
www.loopmasters.com
n7/10n
Sample Magic
Mode Audio
Future Trap & Footwork £35
Density £16
Bringing “Chicago juke, footwork and ghetto house”
together with “trap, D&B and hip-hop”, Sample
Magic’s latest opus is such a voluminous bargain that
it’s hard to know where to start. Its 751 loops and oneshots include messed-up vox, stemmed drums,
quirky synths and FX, rolling basses, mangled breaks,
melodic mini construction kits and more, with
everything properly named and labelled by key and
tempo. It doesn’t hurt that the production quality is
exemplary, either, evoking a unique but satisfyingly
referential sound.
150 drones and atmospheres presented as
construction kits and loops (the demarcation is
nominal, really), and categorised as Ambiances (sic),
FM Drones, Granulation, Subs and Tonal Textures. An
impressive range of colours and moods are
represented – haunting, pretty, dark, glitchy, trippy,
musical, atonal, aggressive, you name it – and with
the samples running anywhere up to 50 seconds in
duration, the sounds have plenty of time to breathe
and develop. 50 (fairly gentle) “synth stabs” are also
included, and at £16, Density is something of a steal.
www.samplemagic.com
n9/10n
www.modeaudio.com
n9/10n
Wave Alchemy
Spitfire Audio
Drum Tools 02 £50
Ólafur Arnalds Evolutions £238
It’s taken Wave Alchemy long enough to make it, but
the follow-up to Drum Tools 01 (10/10,
151) is every
bit as essential as its predecessor. This monster
collection amounts to 2029 (mostly) electronic drum
samples: 450 kicks, 282 snares, 192 hats, 225 claps,
100 cymbals, 120 toms and 660 assorted percussion
sounds, plus 1528 tape-processed alternatives for
added warmth and grit. It’s a staggeringly expansive
library of individual and layered hits, and with 79
sampler patches in various formats, Wave Alchemy
have even done the kit-building legwork for you.
Sadly only for the full Kontakt 5, this fabulously niche
scripted instrument by BAFTA award-winning
composer Arnalds and Spitfire Audio uses a VCS-3inspired pegboard system to assign (manually or
randomly) colour-coded articulations from a 31GB
(uncompressed) library of evolving string quartet
recordings to specific note ranges, and employs
multiple mic channels and a handful of effects to
conjure up an infinite array of delicate, haunting, truly
beautiful sounds. On the down side, the lack of a
manual is a little annoying.
www.wavealchemy.co.uk
n10/10nt
www.timespace.com
n8/10n
March 2016 / COMPUTER MUSIC / 113
> make music now / blast from the past
BLAST
FROM
THE
PAST
Im
ag
ec
ou
rte
sy
of
pe
rfe
ctc
ircu
itau
dio
.co
m
Press and pundits alike predicted that
Yamaha’s groundbreaking physical
modeling synth would signal the end
for sample-based synths, but it didn’t…
Looking back at the mid-1990s, it’s
obvious that musicians were ready for a
change. The vast majority of synthesisers of
the day made use of subtractive sampleplayback synthesis to create and shape
sounds. Once seen as an alternative to the
simple waveforms produced by analogue
synths, sample playback technology very
quickly began to wear thin as manufacturers
churned out an endless supply of what
amounted to little more than preset players
for the Holiday Inn set.
Yamaha, as it happened, had come late to the
sample-playback game, instead clinging to their
once-popular take on FM synthesis. Even so, by
1994 the company’s backroom boffins had come
up with an entirely new method of synthesis
designed to challenge sample-based
instruments. They called it “Virtual Acoustics” –
another name for physical modeling.
Rather than sculpting a sound by chipping
away at a waveform the way a subtractive
synthesiser does, a modeled instrument creates
its sounds with mathematical algorithms that
simulate the behaviour of the various parts of
an electric or acoustic instrument. For example,
a bow (an exciter, or, as Yamaha called it, a
©
Yamaha VL1
“driver”) scraping across a violin string excites
that string (a resonator) into vibration.
Additionally, the hollow body of the violin
represents another resonator.
This was heady and potentially confusing
stuff to musicians weened on a steady diet of
square waves and resonant filters – but it hardly
mattered, as Yamaha would keep much of this
geek-speak hidden from the user in their swanky
new proof-of-concept instrument. Instead, they
packed the VL1 with prefab instrument
definitions that represented many real (and
unreal) instruments, and piled on loads of
performance-orientated modifiers, each of
which could be mapped to various MIDI
controllers for real-time expression. Parameters
like Breath Noise, Throat Formant, Absorption,
Scream, and Tonguing could be controlled by
the VL1’s velocity- and pressure-sensitive keys,
pedals and mod wheels, or any other MIDI CC.
The VL1 was capable of breathtakingly
realistic emulations of woodwind, brass and
stringed instruments – assuming you put in the
time and effort to master it. Just as a real
trumpet takes practice to play, so, too, does a
modeled trumpet. And therein lies the rub:
even as musicians decried the simplicity of
TECH SPECS
Year of manufacture
1994
Original sale value
£3995
Number made
unknown
sample-playback synthesis, they seemed
equally unimpressed by the VL1’s lack of
hands-on immediacy.
And that’s too bad. The VL1 was a truly
exciting and innovative synthesiser, and though
Yamaha tried their damnedest to make the
technology fly with a series of successors,
sample-playback synths continued to account
for the bulk of the company’s sales.
The musicians of the 90s were, indeed, ready
for a change, but that change came in the form
of renewed interest in the technology of the
past, with virtual analogue synths offering the
immediacy and instant gratification that a
complex and demanding instrument like the VL1
could not. Physical modeling would – and still
does – pop up in the occasional software synth,
but it’s never received the attention it deserves.
APPLIED ACOUSTICS SYSTEMS
TASSMAN 4
An underrated masterpiece of modern
modeling, Tassman works as an instrument
or an effect, relying heavily on AAS’ physical
modeling technology. It’s sat dormant for
over a decade, receiving little or no attention
from its developers. It’s still fun and inspiring,
but desperately in need of an update.
www.applied-acoustics.com
114 / COMPUTER MUSIC / March 2016
NUSOFTING MODELONIA 2.0
NUSofting have taken the purist route with
Modelonia – you won’t find any analogue
filters here! Instead, there are models of
blown-brass and plucked-string behaviour
that can be combined to create new and
unusual instruments. The unfamiliar
controls might be off-putting at first, but it’s
worth making the effort to learn them.
www.nusofting.liqihsynth.com
$2
.9
9
$6
9
$9
9
Three modeling alternatives
CHRISTOPHE DUQUESNE
SPRINGSOUND
One of the most interesting applications of
physical modeling is the creation of entirely
new musical instruments, and SpringSound is
a perfect example of this. An iOS app, it can be
used as an instrument or effects processor,
and it also doubles as an editor for the Haken
Continuum Controller.
www.anckorage.com
9000
9001
SYNTH VST/AU
!
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VOL. 31
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Elegant monosynth by Klevgränd
INCLUDES
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March 2016 / CM227
SOUND DESIGN
Learn to synthesise stunning mix-ready
sounds with our state-of-the-art guide
BASS
40
VIDEOS
PADS
LEADS
PRODUCER MASTERCLASS
FX
A
D
S
R
HOW TO USE
HANNAH V
NI RAZOR
The sessionist turned
producer in the studio
Pro guide to this
cutting-edge synth
INCLUDING TWO-PART HARMONY
PERCUSSION
TRANSIENT TIPS + MORE!
intro / computer music <
DOWNLOAD
See page 5 to find out how
to download this issue’s
exclusive content
HOW TO USE
DOWNLOAD
Wherever you see this icon, there’s
downloadable content such as videos,
software, samples and tutorial files. See
the Contents on the next page to find out
how to access our Vault download area.
Tutorials featuring this icon make
use of our own
Plugins – find
out all about them on p16.
TUTORIAL
FILES
This icon means there are extra files
to help you follow a tutorial feature:
project files, audio examples, etc.
There’s extra video content
wherever you see this icon.
VIDEO
2
MINUTES
WITH…
By my reckoning, the typical modern synth has, ohhh,
about a zillion controls. There are row upon row of knobs
to twiddle, multi-segment envelopes to design, step
sequencers at your command, sliders to be slid, and tons
of toggles, switches and buttons. But the one that
inspires me the most has to be the humble patch init
button that resets the synth
to a single oscillator, with
filter wide open and no
modulation in sight. Ah, a
blank canvas for my sonic
art! Whether I’m after a
basic sawtooth bass or a
massive multilayered pad, I know exactly how to find my
way there from this most elementary of starting points.
What if you’ve never been on that journey, though, or
your own attempts at rolling synth patches from scratch
have fallen well short of professionally produced presets?
It can be daunting, I know, and that’s exactly why we put
together our huge Synth Sound Design guide (p36). We’ll
walk you through the creation of slick basses, pads and
leads, hit you with top techniques for ace FX, and more.
The synth party continues apace, with Ultimate
Arpeggiators (p65) pushing your synth lines
to the next level; How To Use Razor (p71)
showing you around NI’s superb
instrument; percussion synthesis from
Break (p82); and, of course, Enkl CM
(p10), an instantly gratifying monosynth
crafted just for us by Klevgränd.
Cableguys even slipped us a sneaky
Curve 2.6 CM update – see what’s new at
bit.ly/Curve26CM. With that little lot,
you simply can’t fail to…
“Ah, a blank
canvas for my
sonic art!”
See and hear the latest software in
action! Get the video on the Vault, or
youtube.com/computermusicmag
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ENJOY THE ISSUE
Lee du-Caine Editor
ISSUE 227 MARCH 2016
contents
COVER
FEATURE
Producer
masterclass
SYNTH
SOUND
DESIGN
Master your virtual
instruments once and for
all with our huge guide p36
59 HANNAH V
The classically trained
pianist lets us on her in-studio
production tricks and techniques
Tutorials
65 ULTIMATE
ARPEGGIATORS
Generate swift and masterful melodic
runs with our state-of-the-arp guide
Tutorial
/experts
71
HOW TO
USE RAZOR
Take full control of NI’s
additive soft synth
80
EASY GUIDE:
TWO-PART HARMONY
82
DESIGNER SOUNDS:
SYNTH PERCUSSION
Interview
84
GEEK TECHNIQUE:
TRANSIENT INTRICACY
86
DR BEAT: CONGAS
AND BONGOS
4 / COMPUTER MUSIC / March 2016
88 A-TRAK
The DMC legend turned remix mogul
tells us how he got to where he is today
DOWNLOAD
This issue’s exclusive
free content from
Computer Music
Step 1
Step 2
Step 3
On your PC or Mac, go to
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then either register for a
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if you already have one.
Click ‘add a magazine’ in the
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Go to ‘my vault’ to see all your
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download as much or as little
as you like.
IN THE VAULT
THIS ISSUE
Enkl CM
Unwrap this issue’s free monosynth and
find out how to get the most out of it on p10
Samples
VOL. 31
Over 900 groovy loops that’ll
bring personality to your tunes
– see what’s inside and how
they were made on p14
Reviews
OFF THE
GRID
96
IZOTOPE OZONE 7
98
MELDAPRODUCTION MXXX
100
UVI FALCON
Tutorial videos
102
SOUNDTOYS 5
106
KILOHEARTS MULTIPASS
High-quality videos to guide you through
our tutorials. Wherever you see the icon
on the left, there’s a video version to watch
PLUS 14 MORE PRODUCTS REVIEWED
See this issue’s entire video content on the next pages
Essentials
24
NEWS
30
WHAT’S ON YOUR DRIVE?
31
BURNING QUESTION
34
SUBSCRIBE
56
NEXT ISSUE
64
BACK ISSUES
114
BLAST FROM THE PAST:
YAMAHA VL1
Tutorial files
CM Plugins
A folder full of audio examples,
synth patches and project files
to help you follow our tutorials
Our exclusive collection of
free plugins for Mac and PC.
See what’s available on p16
This digital content has been thoroughly scanned and tested at all stages of production, but as with all new software, we still recommend that you run a virus checker
before use. We also recommend that you have an up-to-date backup of your hard drive before using the content. Future cannot accept responsibility for any disruption,
damage and/or loss to your data or computer system that may occur while using this magazine’s programs and/or data. Consult your network administrator before
installing any software on a networked computer. If you have problems using our Vault download system, please contact [email protected].
* Please note that the Producer Masterclass video is not available as a download. From
221 onwards, this video is available via a streaming link.
March 2016 / COMPUTER MUSIC / 5
video
Tons of tutorial videos for you to download from our Vault
SYNTH
SOUND DESIGN
Step up to the drawing board and
design your best patches ever with
these how-to videos from the experts
A
D
S
R
Read the full article on p36
1 Punchy tech bass
with Aalto CM
2 Expressive, analoguestyle bass with Reaktor 6
3 Rumbling Reese
bass with Spire
5 Heavenly 80s choir
pad with Dune CM
6 Custom waveform
pad with Serum
7 Classic house lead
with FM8
9 West Coast hip-hop
lead with Strobe2
10 Punchy detuned EDM
lead using Dune CM
TIP 1 Resonant white noise
sweep with Enkl CM
DOWNLOAD
Our fantastic software, samples, videos
and tutorial files are now available to
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go to vault.computermusic.co.uk
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6 / COMPUTER MUSIC / March 2016
register new issues and download more
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bit.ly/cmvaultfaq
* Please note that the Producer
Masterclass video is not available as a
download via our Vault. See page 60 for
viewing instructions, or watch on Apple
Newsstand via built-in internet streaming.
4 Quick bass stabs
with Hive
8 Spooky trap lead
with Strobe2
TIP2 Designing FX using
frequency modulation
video
Download this issue’s videos on PC/Mac at our online Vault
PRODUCER MASTERCLASS*
ULTIMATE ARPEGGIATORS
Forget the piano lessons – whip up creative
melodies and more with the power of software!
Read the full article on p65
1 Arpeggiator basics with
Cream CM
2 Generating a melodic
top line from chords
3 Programming chords
with an arpeggiator in mind
4 Automating Dune
CM’s arpeggiator rate
5 Arpeggiated 8-bit
chords with miniBit CM
6 Polyphonic arpeggiation
with Nora CM
7 Chaining multiple
arpeggiators together
8 Using an arpeggiator
as a drum sequencer
HANNAH V
See how she wrote and produced Andreya Triana’s
Branches of Life using Apple Logic in this studio vid
Read the full article on p59
ENKL CM
Download and get started with this issue’s plugin, a
sweet monosynth made just for us by Klevgränd
Read the full article on p10
* Please note that the Producer Masterclass video is not available as a download via our Vault.
See page 60 for viewing instructions, or watch on Apple Newsstand via built-in internet streaming.
March 2016 / COMPUTER MUSIC / 7
video
Grab this issue’s videos via Vault download – see p5 for details
HOW TO USE
RAZOR
Brush up on NI’s additive
synthesis powerhouse with
our comprehensive guide
Read the full
article on p71
1 Loading, saving and
morphing Razor’s snapshots
2 Understanding Razor’s
Oscillator sections
3 The additive filter
banks in Razor
4 Wielding Razor’s
Dissonance Effects
5 Stereo effects and
Dynamics in Razor
6 Razor’s Voicing, Global
Controls and View B
7 Understanding Razor’s
Spectral Clip and Safe Bass
8
9 Razor’s
graphical display
Modulation with Razor
/experts
EASY GUIDE
DESIGNER SOUNDS
GEEK TECHNIQUE
DR BEAT
TWO-PART
HARMONY
SYNTH
PERCUSSION
TRANSIENT
INTRICACY
CONGAS AND
BONGOS
Quickly add lines to
melodies without
breaking your brain
Break’s guide to
designing percussion
lines from scratch
Owen Palmer goes on
the attack and shows us
how to make an impact
Become a virtual
master conguero with
Ronan Macdonald
Read the full
article on p80
8 / COMPUTER MUSIC / March 2016
Read the full
article on p82
Read the full
article on p84
Read the full
article on p86
> download / enkl cm
>Exclusive full software
Klevgränd
Enkl CM
DOWNLOAD
Introducing our new monosynth, packed with clever modulation
and plenty of built-in effects, yours for free with this issue!
If there’s one thing we at Computer Music
know, it’s that our readers love a greatsounding synthesiser. That’s why we’re not only
focusing on synthetic sound design in this issue,
but also giving away an amazing and exclusive
synth plugin: Enkl CM, by Swedish software
magicians Klevgränd.
Based upon the full Enkl (8/10,
223) – but
sporting one oscillator and a single LFO, rather
than two of each – Enkl CM is a virtual synth
capable of a huge range of tones and textures,
from chest-pounding sub bass, silky lead lines
and futuristic arpeggios, to versatile percussion,
psychedelic FX and everything in between.
Enkl CM’s one-oscillator architecture and
OSCILLATOR SECTION
Change the oscillator’s
waveform, phase, tuning
and gain
monophonic voicing are reminiscent of classic
hardware monosynths, serving up an extremely
simple and intuitive instrument that even
electronic music novices should have no
trouble getting to grips with.
The oscillator can be switched between
triangle, saw, square and noise waves, shaped
with an ADSR envelope, and either amplitudeor frequency-modulated via an envelope and an
LFO. Resonant low-pass and high-pass filters are
onboard for sculpting the raw oscillator tone,
while legato, arpeggiator and vibrato modes
accommodate a range of playing styles. There’s
also a dedicated three-band EQ, plus stereo
delay and width effects to customise the synth’s
VOICING
Toggle Legato and/or Arpeggio
modes, and set Arp Speed and
Glide values
Get the plugin and the video
tutorial on your PC/Mac at
vault.computermusic.co.uk
overall timbre and stereo imaging.
Once Enkl CM has you designing sounds and
riffing away like there’s no tomorrow, try out its
bigger brother, Enkl, which adds a second
oscillator and another LFO for even more
monophonic fun. Other Klevgränd plugins
include Kuvert, a creative, envelope-driven
multi-effect; Esspresso, a precise de-esser; and
Korvpressor, an “adaptive limiter/compressor”.
All are available as VST/AU plugins and iPad
apps.
readers can upgrade to the full Enkl
for only $9.99 instead of the usual $14.99, by
using the code ENKLCM16 or pointing your
browser towards klevgr.se/enklcm16.
www.klevgrand.se
DELAY
A stereo ping-pong delay with
Time, Feedback, Spread and
Mix parameters
EQ
A three-band EQ
with adjustable
crossover points
STEREO WIDTH
Crank up the
knob to spread
out the synth
FM/AM
Apply LFOdriven amplitude
or frequency
modulation
FILTERS
Apply both Low Cut and High Cut filters,
and adjust Resonance and Attack
10 / COMPUTER MUSIC / March 2016
PITCHBEND
AND VIBRATO
Set Vibrato Speed
and Depth, and
adjust the synth’s
pitchbend range
MASTER VOLUME
Sets Enkl CM’s
overall output level
ADSR envelope
Tweak the
amplitude envelope
enkl cm / download <
> Step by step
Installing and using Klevgränd Enkl CM
1
To install Enkl CM on either PC or Mac,
you’ll first need to download
Klevgrand_Enkl_CM.zip from this issue’s
Vault (vault.computermusic.co.uk).
Extract the plugin files from the Zip and
copy them to the appropriate folders on
your system – read the Installation.txt file
for the specific locations.
4
The phase offset slider enables
you to adjust the starting phase of
the waveform, and ranges from 0 to
360 degrees. We’ll leave this at 0. The
circular Fltr button turns the synth’s filters
on or off – again, keep this at its default
‘on’ setting.
7
The Freq slider sets the speed of the
modulation, and the pitch is currently
moving slowly as it’s at the slowest setting.
Drag this slider right to increase the LFO
rate, speeding up the pitch modulation.
The Gain slider sets the amount of
modulation – set it somewhere between
10 and 20% to reduce the effect.
2
Once installed, fire up your DAW of
choice – we’re using Steinberg Cubase
Pro 8 – and load Enkl CM onto a software
instrument or MIDI track.
and
Klevgränd have joined forces to create
over 40 categorised presets, so use your
DAW’s preset-browsing system to audition
the available sounds. Mac-based Ableton
Live users should use the VST version of
Enkl CM to access the preset menu.
5
The oscillator can be tuned in the Osc
Pitch section, which contains three
horizontal sliders: the upper slider equates
to octaves, tuned between -2 and +2; the
second changes the pitch in semitone
steps over an octave; and the third slider
applies fine tuning in cents. The Osc Gain
slider changes the oscillator level – keep
this at its maximum value.
8
The LFO’s ADSR envelope is used to
shape its response. Push the first of
the four sliders – attack – up to almost
maximum and hear how the frequency
modulation now slowly fades in with each
new MIDI note.
3
Now let’s build a sound from scratch,
working through the synth’s
parameters and features in order of signal
flow. Begin by loading the default _INIT
preset to initialise the synth. We want to
start in the oscillator section, found at the
top left, where we can select from four
waveshapes – triangle, saw, square and
noise. Select the Square wave.
6
Onto the AM and FM section, where
you can apply either amplitude or
frequency modulation, selected using the
section’s top buttons. Let’s look at FM first:
change the LFO shape to a sine wave, and
turn its Gain all the way up: you’ll hear the
oscillator’s frequency (ie, pitch) being
heavily modulated by the LFO.
9
Hit the AM button to switch over to
amplitude modulation – the LFO now
controls the volume of the oscillator. Turn
the Gain up to maximum, pull the attack
down to its fastest setting, then alter the
Freq slider to change the modulation
speed. Try out the various LFO waves for a
range of effects, then select the Triangle
shape and set Freq to the half-way mark.
March 2016 / COMPUTER MUSIC / 11
> download / enkl cm
> Step by step
Installing and using Klevgränd Enkl CM (continued)
Currently, the Glide dial is set at
around 11 o’clock, but when we play
overlapping MIDI notes, the synth doesn’t
glide between them. To activate glide,
toggle the Legato button at the top of the
Enkl CM interface. Overlapping notes now
bend into each other at a rate determined
by the Glide knob.
10
13
Next, the effects section, top right. The
Stereo Width effect, exclusive to the
version, detunes the left and right
channels further apart as it’s increased,
creating an impressive stereo spread.
Crank the knob up to around 12 o’clock to
push the sound out to the sides of the mix.
11
Enkl CM features separate high- and
low-pass filters, with a shared
Resonance control setting the cutoff
frequency boost for both. Set High Cut
(aka low-pass) to 12 o’clock, and crank Res
up to maximum to sculpt an aggressive
synth tone. Attack is like ‘glide’ for the
filter’s key tracking. When set to 0, the
filter cutoff instantly tracks each new note,
but when increased, the filter takes time to
react, giving a ‘swooping’ effect.
14
The EQ section can be used to further
sculpt the synth’s tone. Turn the
module on, then click and drag the bands’
vertical lines to set their crossover points,
and drag each band up or down to
increase or decrease its gain. Here, we’ve
applied a treble boost to brighten the
sound. Vibrato is applied via movement of
your MIDI keyboard’s mod wheel, the
range and rate of which are set via the
Vibrato Range and Speed knobs.
12
The Arpeggio and Arp Speed
parameters control the arpeggiator,
which we’ll come back to shortly. The
central ADSR envelope is used to shape
the synth’s volume envelope, the four
sliders defining the attack time, decay
time, sustain level and release time. Leave
these at the default settings.
15
The very useful Delay module is a
ping-pong delay that can be used for
everything from subtle widening to
extreme feedback echoes. The
parameters will be immediately
recognisable to anyone familiar with
typical delay effects. Again, punch its
toggle button to activate the effect.
POWER TIP
>Take it further
16
As with all of Enkl CM’s parameters,
the delay sliders don’t display their
values numerically, encouraging you to
set them by ear. Hit the top switch to turn
the Delay on, then set a short Time and
medium Feedback, and dial the Spread
and Mix values in to taste. Crank up the
Feedback for cool repeating echoes
12 / COMPUTER MUSIC / March 2016
17
Let’s quickly wrap up with a look at
Enkl CM’s arpeggiator. Head back to
the top centre of the interface and activate
the Arpeggio button. Now, holding
multiple MIDI notes at once causes the
synth to play them in a sequence, the
speed of which is defined by the Arp
Speed dial.
Although the included presets, made
by Klevgränd and the
team, do a
great job of showcasing Enkl CM’s
potential, you’ll get the most
enjoyment and mileage out of it by
designing your own patches. For
example, try using the white noise
oscillator, dual filters and delay to
craft exciting noise-based FX and
percussion; or switch to the triangle
wave oscillator and play with the
filter resonance to create beefy sub
tones. Finally, have a go at combining
amplitude modulation, arpeggiation
and delay to create captivating
patterns and sequences.
> download / samples
Exclusive samples
Off The Grid
DOWNLOAD
Download the samples
onto your PC/Mac at
vault.computermusic.co.uk
Feeling uptight? Switch off the snapping and let it all
hang loose with this huge pack of royalty-free beats
915 EXCLUSIVE SAMPLES
306
216
10
55
100
83
Cyclick drum loops
Groove Criminals drum loops
drum kits with 155 samples
individual drum hits
drum top loops
instrument loops
14 / COMPUTER MUSIC / March 2015
As soon as computers started helping us
make our music, the world immediately
changed for the better. Those beige boxes
were no longer just gaming machines or
word processors but began to take on new
life at the heart of world-class bedroom
studios everywhere. Computers gave us
instant instruments, infinite edits, tracks
galore, and of course, perfect timing.
But there’s a downside to everything,
dear readers – you see, as countless 80s
electropop bands proved, you can get too rigid.
The horizonless world of electronic music
started to rely too heavily on that precious
on-screen grid, and soon enough, humanity had
gone from a Utopian brotherhood of jazz hands
and jaunty tapdancers to an enslaved race of
auditory automatons.
And then, from the geometrically perfect
hellscape, a band of off-kilter forces mustered a
final fightback. Roland’s grooveboxes did the
shuffle, the Akai MPC busted a groove, and the
world was once again thrilled by the joys of
perfectly imperfect rhythm.
We at
know the efficiency of the ‘snap to
grid’ function, but we’re also acutely aware that
“it don’t mean a thing if it ain’t got that swing”,
which is why we commissioned this off-kilter
sample pack of grooved-out, skittering loops to
add a sense of feeling back into your music. All
the samples in this pack are royalty-free, and
they’ve been created for us by our two trusted
sample boffins…
Groove Criminals
Oli Bell is so dedicated to swung rhythms that
he’s given up walking forever, favouring instead
to move through the world by way of a dignified,
manly skip. We joined him for a leisurely bounce
to his local ASDA, getting to hear en route about
how Groove Criminals created these samples.
“To make the beats, we used a mixture of
hardware and software. FXpansion’s fabulous
Geist was put to work with the MPC/SP-1200
swing templates from its predecessor Guru,
while we pressed our Akai MPC500 into
service alongside a stack of hardware drum
machines, each with its own swing feel. Our
Boss Dr Groove DR-202 offered some lovely
swing templates built in, even if they were a bit
of a fiddle to use.
Once we arrive at the megamart, Oli rushes
to the deli counter to see if there are any ‘free
samples’. They’re all out of bass loops, so Oli
settles for 20 kilos of tasteless cubic cheese.
“We also broke out some vintage kit: the
Oberheim DMX, Korg Rhythm 55, Hammond
Auto Rhythm and Selmer Auto Rhythm vintage
drum boxes. Each has its own swing personality,
some of which we tweaked later in software,
adding more shuffle loops via Geist and Cubase.
We’ve also included plenty of hits from the
original machines for flexibility.
“We included some live loops too, performed
both on real drums and on an electronic kit.
“All the top loops were synthesised and/or
sampled using a mixture of software, hardware
and household objects. You’ll get the best out of
them by laying them over more straight kick
and snare parts.
“The instrument loops were also a mixture of
hard synths such as the Access Virus B, and soft
synths. They were all sequenced with an Arturia
Beatstep, set to swing!”
www.groovecriminals.co.uk
samples / download <
Oli Bell’s rackmounted
Access Virus B gets a
rare outing in this pack
Oberheim knew the importance of swing
when they created the DMX drum machine
Arturia’s BeatStep controller and FXpansion’s Geist helped bring these samples to life
Cyclick
As we negotiate the self-service checkout, we
find Robbie Stamp staring mournfully into the
change dish. He’s been waiting for a price check
on a bottle of vinegar for 20 minutes. We take
the time to ask him about his contribution to
this month’s sample pack.
“From heavy swing to looser-than-loose, in
fours, fives, sevens and eights, these beats roam
all over the bar, paying little heed to straight
lines after the ‘one’. As a drummer said to me a
long time ago, ‘It doesn’t matter where you go,
so long as you come back on the one.’ He was
wrong, of course, as a number of his excursions
in time did little for the rest of the band, or the
audience, and coming back on the ‘one’ was
never a given!”
Jean the supervisor returns brandishing a
vessel of Sarson’s. It’s a fiver, and the top has
now been re-engineered so you can’t refill it
with the cheap stuff. Robbie continues.
“The loops are banded up in tempo folders
(85, 95, 110, 120, 130 and 140bpm) and feature a
number of types…
“There’s HeavySwing, with quantised swing
anywhere between 50% and 100%, with plenty
of ‘random’ timings for a more human feel;
OddSig, a collection of two-bar loops in unusual
time signatures such as 5/4 and 7/8, which I
played in by hand; DuoSwingMix offers you two
layers of HeavySwing drum patterns mixed
together through four different processes; and
TripSwingMix is similar but uses three layers,
mostly panned L/C/R.
“The drum kits used are also available as hit
kits in the Drum Kits folder.”
www.soundcloud.com/cyclick-samples
Grab these exclusive samples on your PC/Mac
at vault.computermusic.co.uk – see page 5
for more on how to download this and the rest
of this issue’s videos, files and software.
Selected
kit list
Yamaha SPX1000
Boss DE-200 Digital Delay
Boss Dr Groove DR-202
Arturia BeatStep
UAD-2 plugins
Soundtoys plugins
Eventide Omnipressor
Kush Audio Clariphonic DSP MkII
Selmer Auto Rhythm
Korg Rhythm 55
Arsenal Audio R24 EQ
Focusrite ISA 828
Access Virus B
Native Instruments Kontakt 5
Steinberg Nuendo 5.5
Antelope Audio Orion 32
FXpansion Geist
Akai MPC500
Oberheim DMX
March 2015 / COMPUTER MUSIC / 15
> download /
plugins
PLUGINS GUIDE
INSTRUMENTS
Our exclusive collection
of instruments and
effects is included
with every issue of
Computer Music – it’s
got all you need to
make great music now!
The
Plugins collection is a suite of complete, limitation-free
instrument and effects plugins. It’s an incredible resource, boasting
more than 50 pro-quality plugins that you won’t find anywhere else, all
for PC and Mac, in VST and AU formats. All of the included software is
created exclusively for us by respected commercial developers such as
Ohm Force, KV331 Audio, u-he, Cableguys, AudioThing, XILS-lab,
Vengeance-Sound, Rob Papen and zplane.
Where do I get
Plugins?
As a download from our Vault
(see p5 for instructions on how
to access).
How do I install
Plugins?
You’ll find specific installation
instructions for each plugin
in the How To Install file in the
CM Plugins folder.
What do I need to use them?
A PC or Mac and a music program
(aka DAW) to host them (ie, ‘plug
in’ to). You need a DAW that can
host VST or AU plugins, such as
Ableton Live, Reaper, FL Studio
(PC), Cubase, Sonar (PC), Logic
(Mac) or Garageband (Mac).
What happened to…!
As of
209, many
Plugins
have been upgraded to include
64-bit compatibility. The few older
Plugins that remain 32-bit-only
– such as Amplifikation CM, Rhino
CM and KR-Delay/KR-Reverb – are
now included in the 32-bit only
subfolders. These plugins require
either a 32-bit host or a suitable
‘bit bridge’ (eg, jBridge) for use
within a 64-bit DAW.
Still got questions?
See the full FAQ at
bit.ly/cmpluginsfaq
16 / COMPUTER MUSIC / March 2016
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
HYBRID SYNTHS
v2.6
UPDATE
Cableguys Curve 2.6 CM
s Design-your-own-waveforms synth
s New waveform capabilities for v2.6
s Phat 16-voice Unison mode
s Based on Cableguys Curve 2.6
s AU/VST/RTAS, 32-/64-bit
www.cableguys.de
KV331 Audio SynthMaster CM
s Dual wavescanning oscillators
s Multimode filter and built-in effects
s Customisable waveshaping distortion
s FM/AM synthesis modes
s Based on SynthMaster 2.5
s AU/VST, 32-/64-bit
www.kv331audio.com
SAMPLERS
Synapse Audio Dune CM
s VA and wavetable oscillators
s Powerful per-voice modulation
s 12-slot modulation matrix
s Based on the full version of Dune
s AU/VST, 32-/64-bit
www.synapse-audio.com
FREQUENTLY ASKED QUESTIONS
What is
Plugins? Is it just
freeware from the internet?
No, and neither are the plugins
limited or ‘crippled’. It’s a set of
virtual instruments and effects
created by some of the best
developers in the business just for
us – you won’t find this set of
plugins anywhere else!
DOWNLOAD
Expert Sleepers
XFadeLooper CM
s Creative crossfade-looping sampler
s Hard sync mode s Modulation
s Saturation section s Flexible looping
s Based on Crossfade Loop Synth v3
s AU/VST, 32-/64-bit
www.expert-sleepers.co.uk
u-he Zebra CM
s Blendable oscillator waveforms
s Super-programmable step LFOs
s Slick delay, reverb and chorus/phaser
s Original synth designed just for CM
s AU/VST, 32-/64-bit
www.u-he.com
Loomer Cumulus
Enzyme CM
s Scanned synthesis sound generation
s Straightforward preset-based setup
s Assign presets’ parameters to controls
s Based on the full Enzyme synth
s AU/VST, 32-/64-bit
www.humanoidsoundsystems.com
s Granular sampler
s Scenes function for sequencing slices
s Not based on an existing plugin
s AU/VST, 32-/64-bit
s RTAS/Standalone 32-bit
www.loomer.co.uk
plugins / download <
plugins reloaded / make music now <
> Step by step
11 Piano and vintage synth sounds
D
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dC
dt t
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2 M th
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>
CURVE 2 CM
d
lt
We turn our attent on to th s
versat e nsp r ng synth the atest
Plugins family
add t on to the
DOWNLOAD
74
VIDEO
TUTORIAL
Satson… and on
It can’t have escaped your
attention that we ve used the
Satson CM plug n on lmost
every track in our tune Th re s a
good reason for th s: t s
awesome! Satson CM emu a es
the sound of a ha dw re m xer
channel and it’s des gned to be
placed on every t ack in your
mix, to lend its sub le s gnatu e
sound to, well, eve yth ng
It’s light on CPU and can m ke
pretty much any rack sound
warmer and mo e ounded The
plugin can also help to smooth
out the sometimes harsh sound
of digital synths D iven ha der
Sa son CM can prov de some
au hent cal y vin age sound ng
d sto t on e fec s The gen le
h gh- and low- ut f l ers g ve us a
qu ck and asy way of hinn ng
out muddy lows or ro l ng off
t nny highs and you can swi ch
o f the dr ve func ion f you just
want to use t for he f l ers or a
c oser ook at Sat on CM take a
ook t our YouTube video at
www bit y/Ov2WMF
> Step by step
1
3
We ve go almo t a l he m s cal d as
we ne d to c ea e a fu l une but we
need o sp ce t up wi h ex r s and ear
ca dy F r t le s pro ess a p a o at h o
t at t sou ds a b t l ke t s b en samp ed
f om n old r t ne We s a t by l ad ng a
MID t ack pa ned 9R w h a at h r m
t e K ys»G an Pi no pre et n Al hemy
P aye CM
We EQ the ia o n qu te a d s nc ive
way n I EQP o s ng the c rve hown
he e ut i g ff he ow r quen ie and
add ng a b g boos at a ound 8kHz or a
t inn d out v nt ge ki d of so nd T e
p ano so nd is i i hed o f by Sa son CM
wi h the G in nc eas d to +4 and H gh
Pass et a 400Hz to ose e en m re
l we d
2
4
We p ay some ch rds n o he ra k
Pi no m d) and opy some ov r f om
the t ing t ack The p ano so nd is ui e
sho t so we ra se he Re ease o 70% o
le gth n it mak ng t more s i ab e for
our ra k We a so urn t e Delay M x to 0
to kn ck out o f he nbu lt cho e f ct
Ne t a in age yn h e d ne
Gl de m d) r m Po yKB I CM w i h
boa ts s me ru y g eat a al gue s yle
soun s We ch ose Le d»A l» D S ar ng
Gl der J M and p ay n a m lo y ne
us ng the i chb nd w eel o add nt re t
(G id r m d) We add Sa son CM wi h -3
Gain 750Hz H gh Pass nd 16kHz L w
Pass en bl ng he t gh er 1 dB/o t mode
12 Risers and effects with Alchemy Player CM
VIDEO
TUTORIAL
1
We e go ng to ne d a ew one sh t
er uss on FX o pr nk e hrou hout
he t ack and a r a ly s mp e w y to c ea e
hem s o oad A ch my la er CM on a
new ra k nd se ec the D um »Four
Way Drum Mo ph pr set Add
KR De ayCM se to P ngPong mode and
1 4 bea Sync De ay t me A F edback nd
Dr /Wet eve of 40% is er ect
2
We ake t e easy o t on f r the eve b
si g Reve be at CM s C thed al
pr set w th he Dry We at 0dB We to
c ea e ome big s la hy h ts a d ra hes
An i st nce of at on CM et o 00Hz n
t e H gh Pa s di l r m ves s me o the
more bo my e emen s whi h cou d
con i t wi h the k ck rum and ba s
3
Th re s a go d w i e no se r s r sound
n Al hemy Pl ye : Sou d
Ef ec s»B eakdown Booom hi pat h
uses our i f ren l yers o we u e the
X/Y 1 mat x o man pu ate t Dr ggi g
the ont ol o the op r ght f t e anel
m ans hat on y he whi e no se swe p
l yer o the s m le s p ayed n he ra k
we an use olume a d an au om t on
to add n ere t
December 2012 / COMPUTER MUSIC / 47
!
W
E
M PLUGINS TUTORIAL BANK
N
To help you get the most out of our immense plugin
collection, we’ve assembled the
Plugins Tutorial Bank,
containing over 100 guides and tutorials for our
Plugins,
specially selected from past issues. You’ll find Getting Started
PDFs and videos for most of the individual plugins, along
with tutorial PDFs and videos on using
Plugins for sound
design, mixing, and even creating entire tracks. You’ll find all
of this as a handy download in our Vault – go grab it now and
start getting more out of your plugins!
vault.computermusic.co.uk
VIRTUAL
ANALOGUE
SYNTHS
DRUM
MACHINES
DopeVST Beat Machine CM
LinPlug Alpha CM
DopeVST Bass Engine CM
Rob Papen RG-Muted CM
s 50 ready-mixed, royalty-free kits
s Kick, Snare, Hi-hat and Misc parts
s Level, Pan, Pitch and Reverb controls
s 50 MIDI beats included
s Based on the full Beat Machine
s AU/VST, 32-/64-bit
www.dopevst.com
s 45 authentic hip-hop bass patches
s Three eras of faux-sampled material
s Envelope and note controls
s 50 MIDI riffs included
s Based on the full Bass Engine
s AU/VST, 32-/64-bit
www.dopevst.com
s Creates realistic funky guitar grooves
s Sequencer, FX and modulation
s Based on Rob Papen RG
s AU/VST, 32-/64-bit
www.robpapen.com
s Dual oscillators with blendable waves
s Easy operation s Modulation matrix
s Slick chorus effect s Polyphonic glide
s Based on the commercial Alpha synth
s AU/VST, 32-/64-bit
www.linplug.com
OTHER
XILS-lab PolyKB II CM
AudioThing miniBit CM
s Models the ultra-rare PolyKobol synth
s Packed with mix-ready preset variants
s Knobs assignable to main parameters
s Based on XILS-lab’s PolyKB II
s AU/VST/RTAS, 32-/64-bit
www.xils-lab.com
s 15-waveform chiptune synth
s Envelope, LFO, bit/sample reduction
s Based on the full miniBit synth
s AU/VST, 32-/64-bit
www.audiothing.net
AudioRealism ADM CM
s Old-school-style drum machine
s Emulates Roland’s legendary TR-606
s Also contains custom
samples
s Based on the full ADM
s AU/VST, 32-/64-bit
www.audiorealism.se
Madrona Labs Aalto CM
s Unique and powerful monosynth
s Unusual oscillators with FM
s Waveguide delay section
s Intuitively patchable modulation
s Onboard reverb s Step sequencing
s Based on the full Aalto synth
s AU/VST, 32-/64-bit
www.madronalabs.com
XILS-lab XILS 3 CM
s Modelled on the EMS VCS 3 modular
s Authentic oscillators, spring reverb
and ring mod circuits of the original
s Added chorus and delay effects
s Pin matrices to ‘patch’ the signal flow
s AU/VST, 32-/64-bit
www.xils-lab.com
Kirnu Cream CM
s Master arpeggios with this MIDI tool
s Get more out of plugin instruments by
controlling them with Cream CM!
s Program and store complex patterns
s Musical controls for rhythm and notes
s AU/VST, 32-/64-bit
www.kirnuarp.com
zplane vielklang 2 CM
Camel Audio
Alchemy Player CM
brunsandspork Grooove CM
s Innovative drum instrument
s Load in two samples per sound and
choose how they respond to velocity
s 50 built-in
Micro Kits to play
s Based on the full Grooove
s AU/VST, 32-/64-bit
www.brunsandspork.com
s 200 awesome ready-to-play patches
s Loads SFZ patches – often included in
our own
sample collections!
s Based on the full Alchemy synth
s AU/VST/RTAS, 32-/64-bit
www.camelaudio.com
s Pitch-correct and retune audio
s Harmonise melodies with ease
s Algorithms by the experts at zplane
s Based on vielklang 2 Instant Harmony
s AU/VST/AAX, 32-/64-bit
www.zplane.de
Squaredheads Nora CM
Eisenberg Einklang CM
s Morph between a trio of oscillators
s Envelope and timbre controls
s Modulate tone with the LFO
s Based on the full Einklang synth
s AU/VST, 32-/64-bit
www.eisenberg-audio.de
s Input up to four notes, output chords
and arpeggios across three octaves
s Program velocities and store patterns
s Based on the full Nora and Nora 2
s AU/VST, 32-/64-bit
s Mac users require OS X 10.8 or above
www.squaredheads.com
March 2016 / COMPUTER MUSIC / 17
> download /
plugins
PLUGINS GUIDE
EFFECTS
DOWNLOAD
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
EQ/ FILTERS
Ohm Force Ohmygod!
DDMF CM EQ Pack
FEATURED PLUGIN
s Two superb equalisers
s IIEQ Pro CM: 19 filter types
s LP10 CM: Linear phase mastering EQ
s Based on commercial DDMF plugins
s AU/VST, 32-/64-bit
www.ddmf.eu
Loomer
OverTone DSP
Program EQ CM
Cumulus
This granular sampler and beat
slicer will really get yo r creative
juices flowing. Load a sample and set
up eight ‘Scenes’ in which to slice and
dice it, each giving control over Pitch,
Speed, Size, Pan, Shape and Volume.
Play each Scene back via MIDI or
using Cumulus’ internal sequencer for
instant inspiration!
www.loomer.co.uk
18 / COMPUTER MUSIC / March 2016
s Resonant comb filter
s Distortion section
s LFO with sync
s Output filter
s AU/VST/RTAS, 32-/64-bit
www.ohmforce.com
eaReackon CM-EQUA 87
s Smooth three-band EQ
s Adjustable low-cut filter
s Switchable high/low shelves
s Analyser, EQ tips, limiter and more
s Based on eaReckon’s PR-EQUA 87
s AU/VST, 32-/64-bit
www.eareckon.com
s Pultec-style vintage EQ emulation
s Dual bass boost/attenuate controls;
high-mid boost; high shelf cut
s Tube amplifier circuit-only option
s AU/VST, 32-/64-bit
www.overtonedsp.co.uk
AudioThing ValveFilter CM
Vengeance Sound Philta CM
s Dual high- and low-pass filters
s Four slope settings: 12/24/48/96dB
s Resonance and width controls
s Link function and notch mode
s Based on Vengeance’s Philta XL
s AU/VST, 32-/64-bit
www.vengeance-sound.com
s Gorgeous filtering and drive
s Low-pass filter circuit emulation
s Vintage valve saturation section
s Based on Valve Filter VF-1
s Settings randomiser and metering
s AU/VST, 32-/64-bit
www.audiothing.net
plugins / download <
DYNAMICS
MULTI
EFFECTS
ANALYSIS
Unfiltered Audio G8 CM
Toneboosters Barricade CM
s Intelligent mastering-grade limiter
s Dynamic response controls
s Stereo options and versatile metering
s Based on the full Barricade
s AU/VST, 32-/64-bit
www.toneboosters.com
s Get tight dynamics or creative effects
s Includes advanced gating controls
s Real-time waveform display
s Use MIDI as a trigger or output
s AU/VST, 32-/64-bit
www.unfilteredaudio.com
Blue Cat Audio
FreqAnalyst CM
Subsonic Labs Wolfram CM
s Pitchshifting, distortion, phaseshifting, panning, delay and filter
s Flexible modulation
s AU/VST, 32-/64-bit
www.subsoniclabs.com
s Pro-quality, feature-packed analyser
s Numerous customisation options
s Based on Blue Cat’s full FreqAnalyst
s AU/VST, 32-/64-bit
s RTAS 32-bit
www.bluecataudio.com
HoRNet Fat-FET
SKnote Snap
s FET-style compressor
s Similar to classic 1176LN Peak Limiter
s Ultra-fast attack as low as 0.02ms.
s Based on HoRNet MultiComp
s AU/VST, 32-/64-bit
www.hornetplugins.com
s Boost or tame transient brightness
s Brighten or dull a sound’s sustain
s Uses two intelligently linked filters
s Not based on any existing plugin
s AU/VST, 32-/64-bit
www.sknote.it
Inear Display Eurydice CM
s Buffer override/repeat, delay,
bitcrusher and filter with modulation
s Custom signal routing
s AU/VST, 32-/64-bit
www.ineardisplay.com
Photosounder Spiral CM
s Musical, note-based spectral analysis
s Useful for figuring out notes in audio
s Based on the full Spiral plugin
s AU/VST/AAX, 32-/64-bit
www.photosounder.com
OTHER
HoRNet DrumShaper
eaReckon CM-COMP 87
s Slick, punchy compressor
s Mix knob for parallel compression
s Limiter to keep the output in check
s Clear VU- and LED-style metering
s Based on eaReckon’s SD-COMP 87
s AU/VST, 32-/64-bit
www.eareckon.com
s Instant EQ & compression for drums
s Dial in effect amount and in/out gain
s 7 algorithms for kick, snare, loops, etc
s Based on HoRNet TrackShaper
s AU/VST, 32-/64-bit
www.hornetplugins.com
Joey Sturgis Tones & Boz
Digital Labs SideWidener
audioD3CK SunRuys CM
LVC-Audio Transector CM
Vengeance-Sound Scope
s Spectrum view for frequency analysis
s Oscilloscope for waveform monitoring
s Stereo phase and level metering
s Tons of advanced analysis options
s AU/VST/AAX, 32-/64-bit
www.vengeance-sound.com
s Characterful bus compressor
s Dry/wet mix and blend controls
s Advanced options for serial tweakers
s Based on the full SunRuys plugin
s AU/VST/RTAS/AAX, 32-/64-bit
audio.d3ck.net
s Transient tweaking and saturation
s Define and process envelope stages
s Useful metering/display functions
s Mix control for parallel processing
s AU/VST, 32-/64-bit
www.lvcaudio.com
s Add stereo width to mono sounds!
s Signal retains mono compatibility
s Goniometer for stereo visualisation
s 3 widening modes, plus Width & Tone
s AU/VST/AAX/RTAS, 32-/64-bit
www.joeysturgistones.com
www.bozdigitallabs.com
Nyrv Agent CM
Toneboosters Sibalance CM
s Pro-quality de-esser and de-harsher
s Four modes for different use cases
s Select reduction and Attack amounts
s Based on the full TB Sibalance plugin
s AU/VST, 32-/64-bit
www.toneboosters.com
s Create custom effects chains
s Host your VST/AU plugins
s Design your own interface
s Based on the full Agent plugin
s AU/VST/AAX, 32-/64-bit
www.nyrvsystems.com
March 2016 / COMPUTER MUSIC / 19
> download /
plugins
PLUGINS GUIDE
EFFECTS
DOWNLOAD
GGet all of these effects on
your PC or Mac right now at
vvault.computermusic.co.uk
Continued
DELAY/
REVERB
DISTORTION/ SATURATION
Cableguys Waveshaper CM
s Graphically editable distortion curves
s Design curves by dragging nodes
s Syncable input vs output oscilloscope
s Not based on an existing plugin
s AU/VST, 32-/64-bit
www.cableguys.de
Audio Assault
GrindMachine CM
s Five amp and ten cab emulations
s Three-band EQ plus depth and presence
s Djentbox for tightening low tunings
s Based on the full GrindMachine
s AU/VST, 32-/64-bit
www.audioassault.com
Audio Assault
BassAmp CM
s Inspired by Ampeg bass gear
s Gain and Deep controls for added drive
s Three-band EQ plus Mix blend
s Choice of two cabinets
s Not based on any existing plugin
s AU/VST, 32-/64-bit
www.audioassault.com
LiquidSonics Reverberate CM
s Convolution reverb
s A selection of real-world presets
s Import your own impulse response
s Based on the full Reverberate plugin
s AU/VST, 32-/64-bit
www.liquidsonics.com
Audiffex STA Enhancer CM
s New for v1.5: CPU optimised, tube
mode soft switch, new interface
s Valve-style signal exciter/enhancer
s Separate low/high enhancement
s Choose from five tube circuitry modes
s AU/VST, 32-/64-bit
www.audiffex.com
Acon Digital CM Verb
s Simple-but-versatile operation
s Five modes: hall, plate, studio, etc
s Built-in high- and low-pass filters
s Based on Acon Digital’s Verberate
s AU/VST, 32-/64-bit
www.acondigital.com
Sonimus Satson CM
s Classic mixer channel emulation
s Subtle warming saturation
s Gentle, musical high/low filters
s AU/VST, 32-/64-bit
dsp.sonimus.com
Kuassa PreMix CM
s Subtle saturation to screaming drive
s Three-band Baxandall sweetening EQ
s A/B comparison function
s Not based on an existing plugin
s AU/VST, 32-/64-bit
www.kuassa.com
Rop Papen RP-Distort CM
s Five crunchy distortion algorithms
s EQ, dynamics, widener + modulation
s Filter and parallel processing controls
s AU/VST, 32-/64-bit
www.robpapen.com
VIDEO GUIDES
Lindell Plugins 6X-500 CM
s Classic preamp emulation with EQ
s High and low boosts for musical tone
s Modelled on Lindell’s 6X-500
hardware preamp/EQ
s Based on the full 6X-500 and
ChannelX plugin
s AU/VST, 32-/64-bit
www.lindellplugins.com
Tek’it Audio CrossDr CM
s Three independent bands of drive
s Drive, Warp, Crush and Clip signals
s Per-band Balance and Level
s AU/VST, 32-/64-bit
www.tekit-audio.com
20 / COMPUTER MUSIC / March 2016
Our
Plugins Getting
Started videos are also on
YouTube. Head to the below
address to check them out:
bit.ly/CMpluginsJan16
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> news
NEW RELEASES • COMMENT • INDUSTRY HAPPENINGS
New releases from Tracktion
Company unveils Tracktion 7 DAW, a VST/AU synth, and a tube-spangled interface
The folks at Tracktion Software
Corporation must have been cackling
maniacally for the last few months,
anticipating the moment they would hit
an unexpecting public with three massive
music-making bombshells.
First came Biotek, a new software
instrument that marries synthesis with
in-built samples. Specifically, you get four
oscillators, piped through the usual
subtractive framework of filters, LFOs,
envelopes and modulation. What’s special
about Biotek, though, are its oscillators, their
sounds sourced from “natural, urban and
mechanical environments”, and that
unmissable X/Y pad at the instrument’s
centre, which should provide an extra
creative kick. Biotek is $150, out now, and
works in VST/AU/AAX/Linux formats.
Tracktion 7 sees a new update to the
Tracktion 7 (top) was a given, but Biotek (left)
long-running DAW, with a tweaked interface and Copper Reference (right) much less so
and creativity-oriented new features. More
of a ‘workflow and interface’ update, v7
introduces multiple (and synchronised)
and more accessible. Prices start at $60.
browsers that should make auditioning and
Finally, Tracktion are taking a running
selecting elements of a project easier, Clip
jump at the audio interface market with
Layers add new ways to edit material, and
Copper Reference. Aimed at the ultra-high
the underlying engine has been revamped.
end of the two-channel interface market,
Version 7 brings Tracktion’s look more into
and furnished with two vacuum tubes, the
line with its competitors – it’s now slicker
Copper Reference can handle sample rates
up to 192kHz (including 176.4kHz), connects
via the new USB-C standard, and is handcrafted using high-quality components.
Price is TBC at the time of writing.
We’ll let you know how these intriguing
new releases fare in future issues!
READ MORE www.tracktion.com
Celemony Melodyne 4
For version 4, Melodyne goes beyond ‘mere’
manipulation of individual notes within chords,
giving you access to note harmonics, allowing
both corrective and creative sculpting.
Melodyne’s Direct Note Access technology can
now be used on multiple tracks, and those tracks’
notes edited simultaneously from one note editor
area. Elsewhere, there’s now tempo detection,
with Melodyne deriving a click from recorded
material. To get all this, you’ll need the full Studio
version (€699 or a €149 upgrade). Other versions
are available with prices starting at €99.
Melodyne’s spectral editing power may make a powerful new tool for sound design
24 / COMPUTER MUSIC / March 2016
READ MORE bit.ly/Melodyne4info
Trackers &
Demoscene
Could 2016 be a terrific year
for trackers? It’s already
shaping up that way
Version 3 of AudioRealism’s acid bassbox has been launched as a VST/AU plugin
AudioRealism ABL3
Yes, the Swedish company’s vaunted
recreation of the Roland TB-303 (first teased
about two years ago) has been available as a
Reason Rack Extension for some time, but
now that it’s been released as a VST/AU
plugin, we feel it can be considered properly
‘out’. Bass Line 3 boasts a “massively
improved 303 emulation engine” which can
be customised by the user, a resizable
interface, Classic and Pattern Edit views, a
randomiser, and a cool new sticker.
Waves Element 2
Three years ago, Waves released version 1 of
this synth, taking their first foray into the
world of virtual instruments. We checked it
out in
189 (7/10), praising its sound and
calling it “an excellent workaday synth”, but
Element didn’t make a huge impression on us at our
first meeting – can v2 garner more respect?
ABL3 integrates with your DAW to
provide a MIDI step record function, and
synchronises better with the host DAW than
version 2. The new Wave Analyzer claims to
transform input audio into a corresponding
pattern, allowing you to take the output of
another 303-emulator, a real TB-303, or a
recording of one you love, and recreate the
pattern instantly in ABL3. The plugin costs
£78, or £41 for an upgrade. The Rack
Extension incarnation is €69.
READ MORE www.audiorealism.se
finding ourselves wanting a little more
for the money. “The real question isn’t
whether it’s any good, but whether you
really need it,” we reckoned.
Element 2’s improvements mostly
apply to its algorithms and sound, which
were already more than up to scratch to
begin with. The synth’s fundamental
architecture appears unchanged, so users
of the original can expect to experience
no learning curve.
Perhaps most interestingly, users of
Element 2 can flip a switch in the corner to
switch over to Element v1, retaining the
sounds and functions of any patches that
have previously been made using the
original synth.
Element 2 (VST/AU/AAX) is now available
for $119 – a price far lower than the original
full price of version 1 – and can be upgraded
at a price depending on the status of
existing users’ Waves Upgrade Plan.
READ MORE www.waves.com
Rob Papen Prisma
We’ve grown to expect new goodies from
Rob Papen at the NAMM show, so what’s the
Dutch synth master got for us this time? A
new synth? More effects? No, actually.
Prisma (VST/AU/AAX) is a free rack system
for Rob Papen sound-makers. Users can
combine up to four of Papen’s virtual
instruments into a single sound source,
setting up keysplits and velocity sensitivity
to form coherent patches. You can’t load in
Rob Papen effects plugins, which is a touch
disappointing, although there are four
effects onboard. It should be out in March,
and it’s available for free.
READ MORE www.robpapen.com
Users of Rob Papen’s instruments will soon be
able to tweak them from one interface – for free!
With a new year to settle into, it’s time to
take a look at the state of play of trackers
in 2016. While the old favourite and original
third-generation tracker Buzz ticked along
nicely in 2015, its Linux clone, Buzztrax, has
already seen an update in early January,
with big-fixes galore. buzztrax.org.
Our favourite modern and legacy format
music-player for Windows, XMPlay, has also
seen a new update, with HLS streaming and
large file support among other things. With
the ability to play anything from FLAC to
MODs to OpenMPT files, this is the player
you should be seen to be listening to
specialised formats in. un4seen.com.
“We’re still waiting for the
gold release of Renoise 3.1
– maybe next month”
Meanwhile, we’re still waiting for the
‘Gold’ release of Renoise 3.1 – maybe next
month? Here’s to a great year in tracking.
DEMO OF THE MONTH
We Were @ by Oxygene
We’re often blown away by great demos
made to a limited filesize – amounts of data
smaller than a typical text file that can
create some of the most marvelous images
and sounds we’ve seen since… well, last
issue’s column. But we also have a soft spot
for demos created for systems that are in
themselves limiting, and We Were @ is one.
Created by Oxygene for the Atari STe and
its miserly Motorola 68000 chip,
We Were @ was the winner at the recent
25th anniversary STNICCC party in the
Netherlands. It may not look so impressive
by today’s standards, but watching this
through our 1989 goggles, each screen is a
testament to the abilities of Oxygene’s
genius coder, Leonard, who can squeeze
every last clock cycle of power from the
STe’s machinery. With music from Clawz
rolling alongside it. bit.ly/WeWereAt.
We Were @ pushes the Atari STe to the very limits
March 2016 / COMPUTER MUSIC / 25
> news
Get with the
programmers
We have a resounding chat with the developer who’s
taking convolution reverb to the next level
LiquidSonics
What’s your background in music and
in programming?
MH “I used to be a trance producer – back in
its heyday – and had a few remixes on vinyl
under my belt by the time I started studying
Computer Systems Engineering at university.
Convolution reverb had just touched down on
the Mac, and my tutor agreed I’d impress him
if I could make his office sound like a local
cathedral in real-time on a PC. I used some of
my own music gear to take some IRs from a
local cathedral, wrote a basic convolution
plugin over the Christmas break, and
eventually got that smile from my tutor.”
Matthew Hill
Reverberate 2 features Fusion-IR
technology. How is a ‘fusion’ impulse
response better than a normal IR file?
MH “A single impulse response can only capture the state of a reverb
at a single point in time, but a great reverb algorithm will never produce
the same response twice. A Fusion-IR is sampled differently, and multiple
times, so you get lots of snapshots of the source reverb in different states
that can be processed and modulated before fusing them together, hence
the name. This brings back that rich, dynamic reverb that sits perfectly in
the mix, retaining much more character of the source than is possible
with static convolution. Fusion-IR offers early and late components –
gaining control over these two crucial elements is key to how reverb sits
in a mix.”
Is it possible for somebody to capture their own Fusion IRs? How is
the process different from normal IR sampling?
MH “It is absolutely possible, but it’s more complex than traditional
sampling approaches. Not only is it more time consuming, but getting a
great signal-to-noise ratio is more challenging. I’m working behind the
scenes with some people to bring more Fusion-IRs to market, and I intend
to produce some tools that will make this process much easier for people
that want to capture their own
gear in future.”
“The mobile music scene
can feel like my early
days using a basic DAW”
You took convolution
reverb onto iOS with your
Mobile Convolution app – where
would you like to see the iOS
music-making scene go now?
MH “To me, the mobile music scene can feel like my early days using a
basic DAW with a rack of outboard gear. It’s exciting, but it’s an unrefined,
raw experience because preset integration and user interface
management is still quite poor. In iOS 9, Apple introduced a new Audio Unit
specification that will give hosts good preset management capabilities and
a way to embed a plugin interface – just like on desktop. Standardisation
like this is what’s needed to take the capabilities of mobile music apps to
the next level and to really fulfil the mobile music scene’s potential.”
What’s next from LiquidSonics?
MH “There’s been a lot of great user feedback about Reverberate 2 and
Fusion-IR, along with some really strong ideas for the next version. I’m
working on these but also looking at how to use the core algorithms
behind Fusion-IR with some novel techniques to develop something
completely new. My notebook is currently full of system diagrams, and I
can’t wait to be the first to hear what it sounds like!”
URL www.liquidsonics.com
26 / COMPUTER MUSIC / March 2016
UAD 8.5
New UAD software is out now for users of
Universal Audio’s DSP system. First up, the
Marshall JMP 2203 (pictured) sees Softube
model the legendary 1975 guitar
amp. It’s £149, though a discount
is available for anyone who owns
another UAD Marshall plugin.
Next, Sonnox’s Envolution
(already available for £170 as a VST/AU
plugin) joins the platform for £189. Finally,
Brainworx’ bx_digital mastering equaliser
reaches v3 (£229 or $49 to upgrade), with
updates to its filters, the addition of a
Dynamic EQ, and newly boosted mid/side
processing with a proportional Q mode.
READ MORE www.uaudio.com
Virharmonic
Bohemian Violin
In creating their new ROMpler, Virharmonic
claim to have done something new. Instead
of aiming for a mere virtual
instrument, they’ve created a “virtual
performer”, which responds to MIDI
data and acts accordingly, apparently
outputting an expressive
performance without the necessity
for in-depth programming and
keyswitches. Part of the new Soul Capture
series, Bohemian Violin is an ongoing
development that will increase in price while
getting larger, but once you do buy it,
upgrades will be free. It’s kicking off at €149,
and is powered by the free UVI Workstation.
READ MORE www.virharmonic.com
PSP Audioware 2445
PSP Audioware’s take on the classic EMT 244
and 245 reverb hardware puts both
processors into one plugin,
allowing you to use the
qualities of one or both at the
same time. It wouldn’t be a PSP
plugin without some mean
tweaks to the original concepts, though, and
for 2445, they’ve added a couple of shorter
reverb times, input and output Gain
controls, plus a dry/wet Mix level control.
We’ll be putting it through its paces in a
future issue, but for anyone wishing to dive
right in, PSP2445 is out now in VST/AU/AAX
formats, for $156.
READ MORE www.pspaudioware.com
Synapse Audio Dune 2.5
For this free point update, Dune 2 (10/10,
207) gets endowed with some extra
analogue flavour. A new Analogue switch in
the synth’s Filter/Amplitude Envelopes
panel switches those two components
into a circuit-emulated mode with a
hardware-like response. A new filter
type (Expander, available in 12dB and
24dB modes) employs oversampling
for better resolution in its processing, and
boasts better high-frequency resonance.
Elsewhere, Dune 2.5 has additional preset
patches, and is now available as an AAX
plugin for Pro Tools users, in addition to the
existing VST/AU formats.
READ MORE www.synapse-audio.com
news <
years
back
Decimort returns with a new interface and deeper feature-set
D16 Group Decimort 2
Hot on the heels of D16’s first v2 SilverLine effect, Devastor 2, this
legendary bitcrusher has now received its first major update. There’s
a sharp new interface and many more controls with which to control
how exactly those bits are crushed. You get your hands on two
anti-aliasing filters, which can be used to reduce or remove the
characteristic aliasing artifacts of resampling; plus a Jitter control to
add random variation to the plugin’s resampling intervals. In addition,
there’s a Dither control (which makes the bit-depth reduction effect
less harsh by adding low-level noise), and some DC offset action via
the DC Shift switch. The new version of the plugin also does away
with the dual mono interface approach of the previous version.
Decimort 2 is available now for €39.
READ MORE www.d16.pl
Ins & outs
DECK THE HALLS
High street retailer HMV
claim they sold a turntable
every minute in the week
leading up Christmas. And then, at
CES, Panasonic announced that
they’re reviving the iconic Technics
SL-1200 series. If vinyl wasn’t back
before, it certainly is now.
MATERIAL GRRR...
If you’ve ever suffered an on-stage
technical mishap, don’t worry – it
even happens to the biggest stars.
Madonna’s recent show at the
Manchester Arena was delayed when
her video system crashed prior to
the performance, and the back-up
file turned out to be corrupted.
YELLOW SUBMA-STREAM
OK, you probably own or are very
familiar with a lot of The Beatles’
back catalogue already, but it’s
still nice to know that we can now
listen to the whole lot on various
streaming services. Whatever
your musical persuasion, the Fab
Four can teach you something.
SPEAKER SHOCKER
We all want our mixes to
sound great through a
high-end monitoring system,
em but a
recent survey reported that more
than half of us now listen to music
through built-in laptop speakers.
Good luck making your mixdowns
sound great coming out of those.
GROOVY GAME
We’ve had Guitar Hero, so
what about Programming
Hero? OK, it might not have
the same ring to it, but we were
still quite taken with Roland’s free
TR-REC app, which requires you to
make beats using a TR-style
interface within a set time limit.
YOU’RE SO VAIN
Why do some people record entire
gigs on their smartphones?
Research by mobiles.co.uk indicates
that only 9% do so with the intention
of using the footage to promote the
act they’re watching, while 22%
admit that their primary concern is
getting ‘Likes’ on social media.
We came up against
obsolescence time and
time again in
97
If we recall correctly, we were still getting
the odd letter in 2006 asking why we
didn’t offer anything for users of the Atari
ST (a computer that, let’s not forget, was
discontinued in 1993). Well, we shoved it
right up the built-in MIDI ports of users of
said machine in 97, as we showed you
how to emulate the ST on your PC.
In the News section, we covered Native
Instruments’ Kore, the company’s curious
plugin manager/hardware controller. The
product itself never quite took off, and
eventually got ditched altogether. NI
“Our Burning Question
was whether FireWire
was on the way out”
never really gave up on its concept,
though, returning to it with the Komplete
Kontrol S Series keyboards in 2014.
That month, our Burning Question was
whether FireWire was on the way out,
with Apple having dropped it from their
iPod range. It was eventually replaced by
Thunderbolt on the company’s Mac
hardware, but it was only in 2011 that the
interface standard started being omitted.
We also asked, ‘Whatever happened to
MIDI?’ The short answer being: ‘Not much
– everyone still uses it.’ There was rather
more to our tutorial than that, of course.
10 years on, and MIDI is still yet to be
succeeded – long may it reign!
Our explosive cover feature in March 2006
showed guitarists how to plug in to their plugins
March 2016 / COMPUTER MUSIC / 27
> news
freeware news
What do you want for nothing? How about an entire music-making host
platform? We’ve got that and more – plus, a developer gives away the store!
j3ffhubb
MusiKernel 2
A brand new development
platform for music production
from the man behind PyDAW
Developer Jeff Hubbard is no stranger
to controversy. His excellent PyDAW
production package caused quite an
uproar in the Linux music community,
due in part to the developer’s insistence
on flying in the face of many ensconced
Linux standards. Sadly, this means that
PyDAW itself may never have been given
a fair shake – and that’s a shame, as it was
shaping up rather nicely.
The maverick approach and attitude that
were infused in PyDAW can now be seen in
MusiKernel, a cross-platform (PC, Mac and
Linux), free and open source suite of music
production tools. MusiKernel contains all
On the surface,
MusiKernel looks
like any other DAW,
but there are a lot of
innovative features
lurking within
you need to create full productions:
audio and MIDI sequencing is here, along
with a collection of synthesisers, an
SFZ-compatible sampler, and lots of effects –
the coolest of which, Modulex, is a modular
effect that can itself host other effects.
Even mixing is modular, with each mixer
channel taking the form of an effect plugin.
Routing is comprehensive, with every track
capable of being sent to as many as four
other tracks. Up to ten instrument and
effects plugins can reside in any track,
and each track offers sidechaining
to boot.
The idea here is to present a
development platform that can grow and
evolve, and given that the source code is
available to all, anyone can add their own
ideas to it or refine the existing ones. It’s still
early days, but MusiKernel is already an
impressive package.
bit.ly/MusiKernel2
MaxSynths
All synths and effects
kiloHearts
Snapins
HOFA
4U+ BlindTest
MaxSynths, purveyor of
many a Windows-based
instrument and effect,
has recently announced
that he’s unable to
continue support for his
sundry plugins and has declared them freely
available to all. That’s half a dozen synths,
ranging from virtual analogue to sample-based
stuff. There’s also a trio of drum synths and scads
of effects – enough to keep even the most
productive Windows-based muso busy for years
to come. Be nice and donate a few bucks.
www.maxsynths.com
kiloHearts have introduced
the concept of snapin effects
with their recently released
Multipass band-splitter
plugin, reviewed on p106.
Multipass splits the incoming
signal into five frequency
bands, each independently processed using
effects from the kiloHearts snapins range. Five
such effects are available for free and also work
as VST and AU plugins. They comprise Delay,
Chorus, Gain, Stereo and Limiter, and are all
simple, low-overhead and useful.
kilohearts.com
Comparing audio
quality is tricky – we
bring a lot of baggage
to the task. Between our
own preconceptions and
the hype surrounding a
product, it’s certainly never easy to accurately
compare two or more pieces of software. Tests in
which the listener doesn’t know which one is
being presented are far more reliable, and this
free version of HOFA’s commercial plugin enables
you to blindly test plugins in order to make better
choices between them.
hofa-plugins.de
CLASSIC FREE SOFTWARE
WOLFGANG PALM PLEX 2
PPG head honcho Wolfgang Palm has
gained a lot of attention for his recent trio of
virtual synthesisers, but this isn’t the first
time the wavetable maestro has gone soft.
Plex 2 is the second version of his
“restructuring synthesiser”, first released
with Steinberg. It splits the sound of preanalysed instruments into four components
28 / COMPUTER MUSIC / March 2016
that can be mixed and matched with other
similarly split sounds. It’s an interesting
idea, and one that would eventually grow
into the much more capable PPG
WaveMapper. Though Plex 2 is no longer
supported, it is still worth a look. It’s
Windows-only, though.
plex.hermannseib.com
ISSUE227 MARCH 2016
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The Danish DJ/producer behind the huge 2014
hit Soldiers couldn’t live without this little lot
XFER RECORDS SERUM
A lot of people are very happy with the
native Logic synths, but I just find them a bit
hard to work with. All of my main synths are
third-party, and Serum is probably the most
important at the moment. It’s like a
combination of subtractive and FM
synthesis, uniting the best of both worlds to
create sounds that really stand out.
NATIVE INSTRUMENTS RAZOR
Razor is a strange one. Even though it’s one
of my favourite synths, I don’t actually use it
that often, purely because it’s kinda tricky to
find what you’re after – but when you do find
something, you can be sure it will be a sound
that can carry the whole weight of a track.
It’s one of those synths that can turn a good
track into a great track.
WAVES MANNY MARROQUIN
SIGNATURE SERIES
I used to use Waves a lot, then I switched
over to the FabFilter suite and now I find
myself working with some of the smartly
designed Waves signatures series. The
Delay and the EQ are just fantastic. There
are people who complain about the cost of
production plugins, but compared with
getting a quality hardware compressor or
delay, two or three hundred euros doesn’t
seem too bad!
“All of my main synths
are third-party”
SLATE DIGITAL VIRTUAL MIX RACK
A couple of years back, I discovered the FG-X
Mastering Processor and that got me
completely hooked on Slate Digital; the
Virtual Mix Rack is now my main mastering
plugin. The emulations – FETs, SSL and what
have you – are incredible, but what I really
love about the VMR is that it makes you use
your ears and you always end up with a
better mix.
Mike’s new single, Burn The Maps, is out now on Megaton
www.mikehawkins.nu
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March 2016 / COMPUTER MUSIC / 31
> make music now / synth sound design
SYNTH
SOUND
DESIGN
Level up your synth skills
and build your best patches
ever as we put you through
a boot camp of bass, lead,
pad and FX design
36 / COMPUTER MUSIC / March 2016
synth sound design / make music now <
A
DOWNLOAD
Get the videos and tutorial
files on your PC/Mac at
vault.computermusic.co.uk
When it comes to electronic music
production, the synthesiser is
undoubtedly one of the more complicated
devices to wrap your head around – but,
once mastered, it will become the most
powerful weapon at your disposal. Once
you can understand and logically operate a
virtual instrument’s oscillators, envelopes,
filters, modulation routing and other
features, you’ll be able to replicate all
manner of sounds heard in your favourite
productions, and even go on to craft
completely unique timbres that will give
your music the much-needed edge over
other artists that rely on ready-rolled
presets or samples. Plus, there’s nothing
more satisfying than generating a cool
sound yourself from scratch! Make no
mistake: master the art of synthesiser
programming, and you’ll unlock an infinite
universe of sonic creativity – you’ll have a
whole heap of fun in the process too!
But there’s so much to take in when it
comes to synthesis, it’s often hard to know
where to start. You may have seen selfproclaimed synth masters roll a patch from
scratch and thought, ‘How did they do that?’
Well, even the most ardent synth-head was
once just like you, and even they are still
D
S
R
learning their craft – the limitless possibilities
of synthesis can never be fully exhausted!
So throughout the following tutorials, we’re
going to give you the tools and the know-how
to go further in your synth journey. Our team
of expert producers will show you how to
sharpen your synthesiser programming skills
and become better at making sounds from
scratch. We’ll be covering all the main bases of
synth patch design by exploring the most
common types of sounds, from warm, rich
basses and lush, textured pads on through to
silky-smooth leads and eccentric FX design.
There’s something for everyone, whether
you’re an old hand or a complete newbie.
To ensure no one’s left out, we’ll be using a
spread of the most widely used synths, from
established classics like NI’s Massive and FM8,
to modern-day hits like FXpansion’s Strobe2
and Xfer’s Serum – and of course, the amazing
free synths you get with
, such as Synapse
Audio’s Dune CM and this issue’s great new
freebie, Klevgränd’s Enkl CM.
Finally, be sure to grab the videos and
Tutorial Files at vault.computermusic.co.uk,
where you’ll find audio examples and preset
files to help you follow along with the tutorials.
Now, get those oscillators warmed up as we
hand you the keys to synth city!
March 2016 / COMPUTER MUSIC / 37
> make music now / synth sound design
BASS
LAB
When it comes to making big, bad bass
sounds, soft synths offer a degree of
precision and flexibility that can’t be beaten.
Although some people will always claim to
prefer the sound of analogue bass tones, it’s
the difference between analogue hardware
and the best virtual analogue software synths
has become so small that it’s more a matter of
taste than whether one is “better” than the
other. And of course, soft synths offer far more
in the way of sound generating and shaping
features than their physical rivals.
The downside of the soft synth’s enormous
power is that it can be tempting to use every bell
and whistle just for the sake of it. This can work
well when designing mid-range sounds, which
often benefit from lots of movement and timbral
modulation, but bass sounds usually work best
when they’re simple.
Consider Roland’s legendary TR-808 bass
drum sound: made with a single sine oscillator,
it’s not what you’d call ‘rich’ or ‘complicated’; it
just moves quickly from the mids to the very
lowest of lows, creating a deep, punchy sound.
Indeed, it’s this simplicity that’s its strength: the
lack of extraneous elements gives its pitch
modulation room to be heard, and makes it easy
to fit into a mix.
Although mid-range ‘bass’ elements are
common in many styles of music, these are often
really mid-range sounds with a simple, solid bass
sound underneath. Because bass synths are
usually the lowest-pitched element in a track,
they – along with the drums – are what give the
music its weight and percussive impact. As such,
it’s vital to make them as solid as possible, using
the mids and highs to add articulation.
Although bass sounds benefit from being
straightforward, that’s not to say that
programming them is always easy – quite the
opposite, in fact. Because of their basic nature,
the smallest changes to envelope times, oscillator
levels and filter cutoff frequencies can have a big
impact on the results. In the following tutorials,
we’ll show you how to make speaker-rattling bass
patches ideal for house, garage and DnB tracks,
and create your own expressive bass synth with
Reaktor 6’s new Blocks.
A
38 / COMPUTER MUSIC / March 2016
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synth sound design / make music now <
> Step by step
1
4
1. Tech bass with Aalto CM
Aalto CM is tailor-made for creating
fat, analogue-style sounds, and its
frequency modulation (FM) capabilities
are well suited for punchy, techy bass
sounds. Load the synth onto a MIDI track
in your DAW, and begin by turning
Envelope 1’s Sustain up to 1.00. As
Envelope 1 controls the synth’s volume
level, this ensures the patch will have a
loud, solid body.
We now have a basic FM bass tone.
The Ratio dial in the Complex
Oscillator panel controls the pitch of the
FM oscillator relative to the note input. If
you sweep it around as you play, you’ll
hear that its value has a dramatic effect on
the timbre of the patch. Set the Ratio dial
to 2.000.
2
We’re going to use Envelope 2 to
control the level of the Complex
Oscillator’s Mod Index (FM amount) over
time. To set this routing up, drag from
Envelope 2’s output node to the Mod
Index’s input. This won’t have any effect
on the sound until we turn up the
modulation level: drag up on the input to
set the modulation level to between 1 and
2 o’clock.
5
This gives us a tasteful take on a
typical deep house bass patch, but
let’s take the sound a bit further. Try
turning up the Timbre dial as you play.
The higher the dial goes, the richer the
patch’s harmonics become, and the
rougher it sounds. At a constant value this
gives us a dirty, hardcore rave-style sound,
but we’re after something less brutal.
3
The current settings give us
something akin to a muted bass guitar
sound. As Envelope 2’s Decay and
Release times are extremely short, we can
only hear the effect of the frequency
modulation right at the very start of the
sound. Turn the Release up to around
0.80, so that the change in timbre caused
by the frequency modulation happens
more slowly.
6
Return the Timbre dial to 0.00, then
drag from Envelope 2’s output to the
Timbre’s input. This routing is extremely
sensitive, so turn the modulation level up
by a small amount. This provides just
enough roughness to give the bass a bit
more character than a generic deep house
bass, without introducing too much in the
way of mid-range filth.
POWER TIP
>Clean space
7
Play the patch, and turn the Reverb
dial in the Output panel up as you do
so. You’ll hear that this effect works well
with the patch, sustaining the mids and
highs to create an intense atmosphere! A
trick often used in techier forms of house
music is increasing the reverb send level
at the end of a section, and we can do this
by simply automating the Reverb dial.
8
Keep the Reverb level very low for the
first two bars, and gradually crank it
up over the last two bars to increase the
intensity of the sound before it drops back
to a more minimal feel when it loops
around to the first bar. If you look at the
sound in a spectral analyser such as VPS
Scope CM, you’ll see that the fundamental
frequency isn’t as loud as some of the mid
tones. This can be remedied, if needed, by
boosting the lows with low-shelf EQ.
Aalto CM’s built-in reverb is a good
multi-purpose effect that doesn’t
muddy up the low end too much.
However, we can get an even
cleaner sound if we use a separate
reverb effect on a send instead,
then use a high-pass filter to
attenuate any low-end that
conflicts with the impact and
solidity of your bass sound. If
you’re after a still less intrusive
reverb, you can compress the
post-reverb signal using the dry
signal and/or your track’s kick as a
sidechain source.
March 2016 / COMPUTER MUSIC / 39
> make music now / synth sound design
> Step by step
1
2. Expressive, analogue-style bass with Reaktor 6
Reaktor 6’s new Blocks feature is ideal
for making big, phat basses. Load
Reaktor up on a MIDI track in your DAW, or
run the standalone application. Click the
Edit button to open Reaktor’s library in
the Browser on the left. Select the Library
tab, and click the Reaktor Blocks folder.
Double-click the Blocks New ensemble in
the lower section of the Browser to open
it, then click Edit again.
2
This preset ensemble sets everything
up so we can crack on with making
our own synth. If the Reaktor Blocks
folder isn’t open in the Browser, click it,
then click the Bento Box folder to open
that, too. Drag OSC-Oscillator from the
lower section of the Browser onto the
Structure view, then drag from the Util
Note In’s Pitch output to the Bento Box
OSC’s Pitch input.
4
Before we route the audio signal to
Reaktor’s output, let’s filter it. Drag
FLT-SVF onto the Structure, and add two
more ADSRs. Double-click the already
connected ADSR’s name to edit it, and
name it Amp Env. Name the two new
ADSRs Filter Env A and Filter Env B.
Connect Filter Env A’s Out to Bento Box
SVF’s Mod A input, and Filter Env B’s Out
to Bento Box SVF’s Mod B input.
7
Turn the SVF’s Cutoff all the way
down, then set its Mod A modulation
amount to maximum and Mod B
modulation amount to minimum. Turn
both Filter Env A and Filter Env B’s Sustain
knobs all the way down. We can now
create some relatively complex cutoff
movements by adjusting the Attack and
Decay times of Filter Env A and B.
3
We need to make an amplitude
envelope, so drag AMP-VCA and
MOD-ADSR Envelope onto the Structure
view. Connect the Util Note In’s Gate
output to the Bento Box ADSR’s Gate
input, then connect the Bento Box ADSR’s
Output to the Bento Box VCA’s Mod A
input. Next, connect the Bento Box OSC’s
Out to the Bento Box VCA’s In.
5
Connect Util Note In’s Gate output to
both Filter Env A and B’s Gate inputs,
then connect the Bento Box VCA’s Out to
the Bento Box SVF’s In. Connect the Bento
Box SVF’s Out to the Util Level Stereo’s In
L and In R. Everything is now connected,
but you won’t be able to hear anything
because the VCA’s Level is set to zero, and
the Amp Env isn’t modulating it yet.
8
Filter Env A controls the positive
modulation on the envelope, while
Filter Env B controls the negative. By
controlling the SVF’s Cutoff and the
amount by which it’s modulated by the
two envelopes, you can create an
expressive array of articulations. Finally, to
give the sound more bite, turn the
Resonance up to 12 o’clock or so.
POWER TIP
>One for the CV
Despite its analogue-style phatness,
the bass sound we’re creating in this
walkthrough is very clean. If you’re
after something a little grittier, you’ll
be pleased to learn that you can use
the Bento Box’s CV Processor as a
quick and dirty waveshaper. Route
the output of the Filter into the CV
Processor, then the output of the CV
Processor to the Util Level Stereo’s
input. Turn the CV Processor’s Level
all the way up, and try playing
around with the various
Rectification/Clipping modes (the
six-pronged button on the right of
the interface) and Offset levels to
create all kinds of grunge and grime.
6
In the Panel view, click the A button at
the top of the Bento Box VCA (you
may need to scroll around to find it), then
drag the modulation amount fader to the
right of the Level knob all the way up.
Now, you should hear a pure sine tone
when you trigger Reaktor via MIDI. Drag
up on the Osc module’s waveform knob in
the Panel view to set it to a pulse shape.
40 / COMPUTER MUSIC / March 2016
synth sound design / make music now <
> Step by step
1
Let’s make a rumbling, junglistic bass
with Reveal Sound’s superb Spire
synth. Load it up on a MIDI track in your
DAW and click the Drift button at the
bottom left to disable the analogue-style
Drift function, for a more consistent pitch.
Click Classic in the Wave panel and set the
oscillator type to AMSync, and turn the
Wt Mix control up to maximum.
3
Turn trg1’s horizontal modulation
fader up very slightly to 534 or so, and
you’ll hear the rhythmic movement kick in
as LFO 1 begins to affect the amplitude
modulation frequency. The patch is
coming together, but its amplitude
envelope attack and release times are
very short, resulting in unwanted clicks.
Let’s fix that.
> Step by step
1
Double trouble
3. Rumbling Reese bass with Spire
2
Set the CtrlB knob to 0 to reduce the
amplitude modulation frequency and
smooth out the sound. Modulating the
CtrlB parameter gives us that classic
rumbling Reese sound. Click the Mtrx
button at the bottom of the interface
to bring up Spire’s modulation matrix.
Set Src 1 to LFO 1, and Trg 1 to Osc 1 »
Osc 1 CtrlB.
4
Click the Mtrx button to close the
modulation matrix so you can see Env
1. Env 1 controls the synth’s amplitude
envelope, so turn the Attack and Release
faders up to around 70. At the top of the
interface, click the Mode slot and select
Mono 1 from the list of available
polyphony modes. Finally, turn the SHP
(Shaper) Dry/Wet knob up to 1000 to add
a little grit to the patch.
Bass is an important aspect of
electronic music, but it’s
uncommon to use two bass
sounds simultaneously. This is
because it results in what’s
known as auditory masking,
which makes the affected parts
sound less loud and clear.
However, some tracks, such as
Renegade’s Terrorist
(bit.ly/RenTerr), successfully use
two bass sounds that play
concurrently. This works in the
case of Terrorist because the
secondary bass sound (the bass
stab) is staccato, which helps
alleviate masking in the temporal
domain, and has had its weighty
low end curtained with filtering
or EQ, preventing it from clashing
with the sub-heavy main bass,
which would otherwise cause
frequency masking and/or
phasing issues.
Of course, another way to
prevent auditory masking is to
simply not play two bass sounds
at once; but if that’s not an
option, sidechain compression
can help. Depending on the
sounds that you use (again, it
helps to have sounds with
different types of dynamics),
quickly ducking one bass sound
as another one plays can trick the
ear into thinking that both
sounds are occupying the mix at
the same time, when the reality is
that you’re performing some
cunning audio sleight of hand.
4. Quick bass stabs with Hive
Put u-he Hive onto a MIDI track in your
DAW, and in the Filt 1 panel, set the
Type to Lowpass 24, and turn the Cutoff
all the way down. Hive doesn’t have a
dedicated filter envelope, but below the
Cutoff knob is a hardwired Mod Env
control that sets the amount of Cutoff
modulation by Mod envelope 1 or 2.
2
Turn Mod Env up to 98.00. We want
the modulation envelope to close the
filter quickly, so in the Mod 1 panel, turn
the Sustain down to 0.00 and Decay
down to 37. To give the filter movement
more bite, set the Resonance to 19.00.
3
The bass patch has a little click at the
start, so set the Attack) time in the
Amp 1 panel to 10.00 or so. Click the
Effects button in the central window, then
click the Distort button to activate the
Distortion effect. Turn the Amount up
to around 19.00 to give the patch a
more consistent volume level and slightly
richer harmonics.
March 2016 / COMPUTER MUSIC / 41
> make music now / synth sound design
PAD
WORKSHOP
Generally speaking, a pad is a fullfrequency sustained tone that’s used to fill
up a mix – or ‘pad it out’, as it were. Pads are an
important element of electronic music
production, and over the next few pages, we’re
going to explore how to create rich, full synth
pad sounds using Xfer Records’ cutting-edge
beast, Serum – as well as our very own Dune
CM from synth masters Synapse Audio.
By generating a sound with long attack, decay
and release times, then triggering that sound
using a chord sequence, we can create a dense,
atmospheric tone that responds well to further
processeing such as filters or effects like reverb,
delay, chorus or flanging.
Pad sounds became widespread in the 80s
thanks to the advent of the polyphonic
synthesiser. In contrast to the monophonic
synths that had been available before, polyphonic
models offered at least one oscillator for every
voice of polyphony, allowing the creation of
densely layered chords that could perform a
similar function to a string section or choir.
Whether made using a synth or by sampling a
sustained chord, the pad sound quickly became a
trademark of classic tracks ranging from the Pet
Shop Boys’ hit West End Girls (bit.ly/PSBwegirls)
through to Goldie’s jungle anthem Inner City Life
(bit.ly/GoldieICL), as well as being used in
countless house, trance, techno, DnB and
hardcore tracks.
Fast forward to 2015, and a great-sounding
synth pad is still something we can use to add
depth and feeling to our productions. Indeed, the
options for making unique, lush pad sounds have
never been greater! As well as the multitude of
choices offered as part of most DAW packages,
monster hybrid synths such as Spectrasonics’
Omnisphere 2 allow producers to combine phat,
analogue-derived waveforms with samples of
real-world instruments in order to create unique
and colourful pads. You can even make great
pads without a synth in sight, using sound design
techniques to combine waveforms in a sampler
or twist up recorded vocal material – but that’s a
tutorial for another day, as we’ll be sticking firmly
to synths here!
Now that your appetite’s been suitably
whetted, let’s get stuck into making some lush,
mix-filling pad patches.
A
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synth sound design / make music now <
> Step by step
5. Heavenly 80s vocal choir pad with Dune CM
1
Let’s make a choir-esque pad fit for a
moody track straight out of the 80s –
the era when pads ruled the Earth and if
your mix wasn’t piercingly bright and
soaked in digital reverb, you were doing it
wrong. Start a 130bpm project and load
80sBacking.wav and 80sPad.mid onto
audio and MIDI tracks. Load Dune CM on
the latter and select Bank B in the central
panel to initialise it.
4
Increase Osc 1’s Fat knob – which
introduces per-oscillator unison
detune – to 22%. We’ll leave Osc 2’s Fat
control as is, for solidity. We’re going to
use a lot of unison voices, so turn up
Voices in the Patch Settings to the
maximum of 72, so we have plenty with
which to play chords, and turn down the
synth’s Output Volume to 15%, as the
added voices are going to make the sound
substantially louder.
7
We can use the filter’s resonance to
give character and emphasise the
breathiness. Increase Key Track to 100%,
so the filter’s cutoff will move up and
down with the note being played, set
Resonance to 93%, then pull the Cutoff
down until you find the point just above
where the treble starts to become dull –
about 74% does it.
2
Heavy reverb will form a core part of
our pad’s sound, so we should add it
sooner rather than later. Load CM Verb,
and set its Reverb Program to Gold Plate
for a suitably bright and glassy sound. Set
Reverb Time to a lengthy 4.50, and crank
the Reverb Level right up to 3.3dB. Raise
Low Cutoff to 900 and High Cutoff to
9000 to make the reverb even more crisp
and up-front. Who needs subtlety?
5
In the Unison panel, whack Voices up
to 8, and try out the Detune knob to
hear how it affects the sound. Around 8%
works for us, producing a distinct vocal
timbre that’s most obvious in the upper
octaves. When designing your own
patches, carefully experiment with the
number of unison voices and detune
settings, and pay close attention to how
they affect the tone. Turn Spread up to
100% to fill out the stereo field.
8
A touch of filter movement will add
life, making our virtual choir breathe
harder and softer. Set the Filter Envelope
the same as the Amp Envelope, then
increase the Filter’s Env control to 9%.
The filter now comes to rest at a higher
point (because the envelope’s sustain is at
82%), so reduce Filter Cutoff to around
66% to compensate.
3
Dune CM has a number of decidedly
digital-sounding custom waveforms,
and these make excellent pad fodder.
Enable Osc 1 & 2’s Selection option and set
their waveforms to 52 and 54 respectively,
then increase Osc Mix just a touch to 7%,
so we hear only a little of the second
oscillator. Right now, it sounds pretty
unremarkable, but we can use unison
detune to add richness and movement.
6
Right now, we’ve got more of a
standard keys-type sound than a pad,
so set the Amp Envelope’s Attack, Decay,
Sustain and Release to 74%, 78%, 83%
and 62% to make the sound wash slowly
in and out when played. Next, our virtual
choir needs more ‘breath’, and a touch of
noise is ideal for this. Turn up the Noise
Level to just 2%, and set the Noise Colour
to 100%, which restricts the noise to the
upper frequencies.
9
Let’s simulate how a singer might
begin a note slightly flat, sliding up to
the correct pitch. In Mod Matrix 1>12, set
slot 2’s Source to Mod Env, Amount to -1,
and Destination to Osc 1 Semi. Finally,
add Program EQ CM, with Low Boost and
Atten at 5, CPS on 30, KCS at 5kHz, High
Boost at 5, and High Atten at 1. Don’t
forget to switch the EQ on, too!
March 2016 / COMPUTER MUSIC / 43
> make music now / synth sound design
Wavetable synthesis
Invented by PPG founder Wolfgang Palm back in
the late 70s, a wavetable synth uses a digital
wavetable oscillator hosting a choice of preprogrammed waveforms to generate sound,
rather than (or as well as) the conventional
waveforms – sine, triangle, sawtooth, etc – that
you get from an analogue oscillator. Essentially,
this means that a wavetable oscillator can not
only generate the usual synth waveforms you
know and love, but also offers an extensive
palette of raw source tones that can’t be easily
created using other methods of synthesis.
Although wavetable synthesis delivers
interesting enough sounds right out of the gate,
it becomes particularly interesting when you
start using modulation from sources such as
LFOs and envelopes to ‘morph’ between
> Step by step
waveforms, opening up a whole new world of
possibilities for the creation of evolving and
complex sounds.
Classic wavetable synths such as the PPG
Wave were characterised by the aliasing and
quantisation artifacts that could be introduced
when replaying and switching between
waveforms. Nowadays, in addition to
painstaking virtual recreations of classic
“Create totally
unique sounds or
add texture”
wavetable synths from PPG and Waldorf – some
including options for that gritty vintage digital
sound – you can also get your hands on wholly
original offerings including Waves’ Codex, Xfer
Records’ Serum and Native Instruments’ classic
Massive, which offer all the pristine sonics and
control expected of a modern-day instrument.
Some wavetable instruments even allow the
user to design waveforms from scratch or by
importing audio files – a great way to create
totally unique sounds or add texture to more
traditional oscillator types.
With the fundamentals of wavetable
synthesis covered, let’s put it to practical padproducing use, using the superb Serum to
create our own waveform for use as part of a
lush pad sound.
6. Custom waveform pad in Serum
1
Let’s explore Serum’s wavetable
synthesis, creating and editing our
own waveforms for use in a patch. Open
your DAW and set the tempo to 128bpm,
import the audio files beginning “Serum…”
from the Tutorial Files folder, and create
a new instrument track with Serum
loaded onto it.
4
We can use Serum’s amp envelope to
give our pad longer attack and release
times – click Envelope 1 and set its Attack
to 1.45s and Release to 200ms. Next, turn
on the Filter and route Oscillator B to it by
highlighting B (middle left). Drag
Envelope 2 onto the Filter’s Cutoff knob
to modulate the cutoff with the envelope.
44 / COMPUTER MUSIC / March 2016
2
Import SerumPad.mid onto the
instrument’s track to trigger the synth.
Open Serum and load its Init preset from
the main menu. We’ll start by choosing a
rich wavetable for Oscillator A – pull down
the wavetable menu (top of oscillator) and
choose PWM Juno. Next, lower the
master output (top right) to around 40%.
After this, we can use an audio sample to
make a wavetable for Oscillator B.
5
Set the Filter Cutoff to around 400Hz,
then set the Env 2 » Filter Cutoff
modulation amount to 50. You’ll hear the
filter’s cutoff open up as the note sustains.
Now tweak Envelope 2’s Attack to taste –
we’ve set ours at 673ms to make the filter
open slightly after the note starts. Next,
thicken the pad by setting both oscillators’
Unison controls to 3 and Detune to 0.10.
3
Turn Oscillator B on and click the
pencil icon at the top right. Open the
Import menu and select Audio (via FFT
Resynth 2048), then load SteelDrum.
wav from the Tutorial Files. The steel
drum sample will be sliced into several
waveforms automatically, ready for
further tweaking later. Tune Oscillator B
down by 4 octaves and 2 semitones to
get it in key with Oscillator A.
6
Finally, we can use an LFO to modulate
Oscillator B’s Warp control. Pull down
the control’s menu and choose Quantize,
then assign LFO1 to modulate it, with a
modulation amount of 35. Set LFO1’s Rate
to one Bar and the warp control will move
rhythmically, switching Oscillator 2’s
wavetable between waveforms and
adding some great modulation to our pad.
> make music now / synth sound design
Owen Palmer’s
10 top patch design tips
Having crafted countless electronic bangers as engineer to an
exciting array of artists, Owen is no stranger to synthesis. He’s
just released a wicked sound pack for Steinberg’s Retrologue 2
synth, too, so we just had to ask him for his top patch pointers
01
GET CURIOUS
In case nobody bothered to tell you,
the standard way to hone your synth
skills is to test a synth, feature-byfeature, with no special goal in mind other than
to find compelling sounds and note the methods
behind them. You’ll have plenty of “so that’s how
they do it” moments, and maybe even the odd
“now that’s a cool sound that I’d never heard
before” moment. Armed with the synth’s
manual, this is even easier, and you’ll come
away feeling empowered and inspired.
02
TREAT IT LIKE
A PUZZLE
When you set out to make a
sound, work your way through
each section of the synth (eg, oscillators, filters,
envelopes) as if you’re building a puzzle. Each
section is a piece that adds to the big picture, so
make it count. Once your patch is close to how
you want it, tweak each section over and over
again until you run out of ways to better it; use
all that’s on offer to coax your perfect sound.
03
START FROM SCRATCH
Dissecting professionally designed
patches is a smart way to find out
how skilled sound designers pull
off certain sonic traits. When you come to
make your own sounds, though, it’s mostly best
to begin with a blank preset. Starting from
scratch may seem a bit scary at first, but it
means you won’t get lost in someone else’s
puzzle, and it’ll be much easier to keep track of
how each section of the synth plays its role in
the final result.
04
CONTEXTUAL
TWEAKAGE
How much detune is too much?
Are the envelopes short enough?
Should the filter be set to 12 or 24dB per octave?
There are no one-size-fits-all answers to these
sorts of questions. Often the best thing you can
do is to figure out how you want the synth patch
to come across in the specific production it’s
going in. So make your final synth adjustments
only after you’ve established a MIDI
arrangement. This way you can audition the
synth part in context with the rest of the
production and make those tweaks bespoke.
46 / COMPUTER MUSIC / March 2016
05
KEEP IT MOVING
Everybody says synth parts need
movement, but I think this point is
hugely undervalued. I’d advise
you to find as many ways as you can to keep all
aspects of the synth patch in motion, without
losing its overall character. Master sound
designers know how to conjure the contrast and
dynamics human ears crave. Sometimes motion
within a synth preset is so subtle that you might
ask, “Is there any point?” That’s the magic fairy
dust, baby! Trust me, it matters.
06
KNOW YOUR WAVES
Make time to play with the basic
waveforms (sine, triangle,
square, pulse, sawtooth) and
get to know their unique strengths – even if you
plan to use loads of wild wavetables or FM. It’s a
rookie mistake to overlook the diversity of these
waveforms. Take my advice and you’ll soon be
ready to reproduce the vast majority of synth
parts you hear on records.
07
IGNORE SYNTH HYPE
There’s no such thing as ‘better or
worse’ when it comes to synths –
only ‘strengths and weaknesses’.
Furthermore, what you think of as a synth’s
weakness in one case might be its strength in
another case. For example, unsteady oscillators
might be crap for creating a progressive house
bass patch, but magic for manufacturing
interesting leads and pads. Keep an open mind,
collect synths, conduct shootouts, and always
play to each synth’s strengths.
08
09
GO LONG
Aim straight for the bullseye
within the synth. If you feel you
have to rely on a chain of
external effects just to make a sound fit, then
chances are you’d be better off modifying – or
even replacing – the patch itself. Where possible,
use added effects not to create your sound, but
to enhance it. If you do the heavy lifting with
synth design instead of with external effects,
your mixdown will be easier to do, and it’ll sound
better too!
10
DON’T GO ALL-OUT
When you’re playing with a synth on
its own, you may want to make
patches that fill out the whole
frequency range. Don’t do it, Luke, it’s a trap!
Above all, you need to leave plenty of space in
the top end for other sounds in your mix. Don’t
let oscillators gain too much power above about
2kHz. Use filter envelopes wisely, only letting
through as much as you need, succinctly. Search
your feelings – you will know this to be true.
HEAR MORE
TAILOR
PERFORMANCE
Compose your MIDI parts
mindfully in order to play to
each preset’s sonic strengths. If you’ve chosen a
preset before you have any MIDI patterns for it,
figure out which notes and rhythms best
flaunt its character – there’ll be at least one
sweet spot. When crafting presets, use the
keytrack (aka key follow) modulation source
skilfully to extend the range of notes over which
the patch sounds good. This is how – without
using external effects – I produced a cleansounding audio demo for the Captain’s Log
presets (right).
To experience Owen’s synth wisdom in
action, check out the amazing demo
video that showcases his Captain’s Log
preset pack for Steinberg’s ace new
Retrologue 2 synth. Owen covers a
range of genres and tempos and drops
more knowledge in this action-packed,
7-minute extravaganza!
www.owenthegeek.com/clog
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> make music now / synth sound design
LEAD
DESIGN
As the name suggests, a lead line is the
prominent melody in a piece of music
which acts as a hook to keep the listener
interested. Typically in electronic music, it will
be made using a synthesiser and can be the
thing that makes (or breaks!) a track. A prime
example of a lead synth at work is the riff at the
start of The Prodigy classic No Good (bit.ly/
ProdNoGood). This riff can be heard loud and
clear whenever it’s playing, reappears at
multiple points in the track, and is a great hook
that sticks in your head instantly. Obviously,
the notes that your lead plays are crucially
important, but what about the sound?
With modern electronic genres like EDM and
trap using huge lead lines as their main musical
elements, it’s important to utilise every trick in
the book to craft a thick, meaty lead that will grab
the listener’s attention and cut through when it
matters. A good starting point for creating a big
lead sound is to slightly detune two or more of
your synth’s oscillators against each other – the
phasing of multiple waveforms can sound
enormous when not pushed too far. Indeed, this
technique forms the basis of most hoover
sounds, a hoover being a characteristic detuned
lead like the one in Human Resource’s classic
track Dominator (bit.ly/HRdominator).
A related technique is to increase the number
of voices used by each oscillator with your
synth’s unison controls, and detune them against
each other. This will thicken the sound
considerably and is easy to do in most of
today’s soft synths. If your lead lacks depth,
try adding another oscillator tuned down an
octave and mixed in gently to fill the bottom
end out – or perhaps pitch it up an octave to add
high-end fizz!
Crucial to many monster synth leads is the use
of effects processing. Stereo delay is perfect for
adding width and density, as is reverb, but be
careful not to go overboard with either or you
risk your lead losing its focus. Check out
222’s Synth FX feature for more ideas on
processing lead sounds.
Now, let’s put some of these techniques to
good use by creating four huge leads using NI’s
awesome FM8, FXpansion’s brand new Strobe2,
and the incredible Dune CM synth that comes
free with this very magazine.
A
50 / COMPUTER MUSIC / March 2016
D
S
R
synth sound design / make music now <
FM synth power
Frequency modulation (FM) synthesis is a
powerful way to create unique leads, pads,
basses, and even drums. In contrast to
conventional analogue synthesis, where a
harmonically rich waveform is shaped by a filter,
FM synthesis works by using a (usually) simple
waveform – called a modulator signal – to
modulate the frequency of another basic saw,
square or sine carrier waveform. The resulting
waveform becomes more elaborate as the
modulator signal is manipulated, and this
enables the user to create a huge variety of
complex tones that aren’t typically possible
using more standard analogue-modelled
oscillators, including inharmonic sounds such as
bells and percussion.
FM synthesis was popularised back in the
80s by Yamaha’s best-selling DX7; although that
> Step by step
u-he’s Bazille packs in a ton of synthesis potential,
with FM being just one of its many sonic talents
instrument only had one programming control
and was hard to use, it became very popular
with musicians who valued its excellent presets
and truly unique sound. Perhaps the best DX7
emulation on the market today is Native
Instruments FM8, the hugely popular
follow-up to FM7, originally released in 2002.
Both can even load up original DX7 presets via
SysEx, so you can relive those classic 80s
sounds in your DAW.
If you’re after even more flexibility with
your FM synthesis, there are plenty of hybrid
synths available that offer frequency
modulation alongside analogue and other
technologies. u-he’s Bazille is a virtual modular
synth offering FM oscillators alongside
analogue modelled filters, while Synapse Audio’s
Dune 2 offers a choice of virtual analogue or FM
oscillators, with deep modulation control that
even extends to individual unison voices.
Now, let’s use FM synthesis to cook up a
timeless house lead in FM8.
7. Classic house lead with FM8
1
Let’s use the power of FM synthesis to
create a signature house lead with NI’s
powerful FM8 synth. Although we’re
working at house tempo, it’ll be well suited
to use in many other genres, too. Start by
opening your DAW, setting the BPM to 128
and importing FM8Backing.wav and
FM8Lead.mid from the Tutorial Files
folder. Load FM8 onto the instrument
track with the MIDI data on it.
4
Changing the amplitude of Operator A
has made our patch punchier, but
there’s still plenty more we can do. Change
the pitch of the modulation operator by
turning Operator A’s Ratio up to 4.00.
This gives the patch a more house-like
feel. Next, we can add richness to our
sound by changing Operator A’s waveform
to Soft Square. Check out how it sounds
in the supplied video and audio files.
2
Open FM8 and create a New Sound
from the File menu, then select the
Expert tab in the Navigator to start
editing the patch. Currently, you can hear
Operator F (the carrier) playing a sine
wave. We’ll use another operator to
modulate this signal’s frequency,
changing the sound as a result.
5
Let’s use FM8’s unison tools to add
thickness to the sound via detuning.
Click the Master tab, turn the Unison
Voices up to 3, and set Detune to 30 – this
makes the sound instantly bigger and
bolder. We can also add analogue-style
tuning variation to the unison voices, thus
making our lead sound less ‘digital’, by
turning the Analog slider up to 40.
3
In the FM Matrix, right-click Operator
A to activate it, then route it to
Operator F at around 50. As you turn up
the amount, you’ll hear the tone of
Operator F changing accordingly. Next,
we’ll use Operator A’s envelope to change
the sustain and release time. Click
Operator A and drag the red square in the
Envelope page down to the bottom of the
envelope at around 0.2.
6
Finally, we’ll dial in some of FM8’s
excellent effects to finish the sound
off. Open the Effects tab in the Navigator
and enable the Reverb. Set its Time to 20
and Dry/Wet to 40 to get a more
spacious, wider sound; then turn on the
PsycheDelay and set its Time to 4,
Feedback to 60 and Dry/Wet to 10. This
applies a gentle stereo delay to the lead
without overpowering it.
March 2016 / COMPUTER MUSIC / 51
> make music now / synth sound design
> Step by step
1
8. Spooky trap lead with Strobe2
Let’s make a spooky, trap-style lead
line using FXpansion’s Strobe2 (the
demo is available at fxpansion.com). Set
the project tempo to 140bpm, and import
the audio files beginning “Trap…” . Add an
instrument track, load Strobe2, and import
TrapLead.mid onto the track to trigger
the synth.
Gliding away
Portamento is a pitch slide
between two notes (overlapping
or not, depending on the synth).
Most synths will have a control
marked ‘portamento’ or ‘glide’
that lets you control the speed of
this slide, and by using it in
conjunction with careful
programming of note overlaps in
the triggering MIDI part, you can
utterly transform the feel of a
lead line. It’s not only brilliant for
making warm 90s-style rave
pads and classic Dr Dre leads, but
is also useful in modern EDM and
trap sound design.
A handy tip for making grimy
bass sounds using a portamentoenabled synth is to program a
long, sustained MIDI note, then
place a few short 16th-notes an
octave above it. This gives a
funky note-to-note pitchbending effect that can be
tailored by adjusting the note
lengths and portamento time.
It’s also possible to apply
portamento to samples in
most samplers, pitch-gliding
melodic elements or even
applying it to percussive sounds
to create interesting drum hits
and grooves.
The placement of notes in the MIDI part is
the key to effective portamento
52 / COMPUTER MUSIC / March 2016
2
Turn the main oscillator off and crank
the Sine volume on the sub oscillator.
Set the Shape to 40%, and modulate it
with the LFO to -20%, as shown (select the
LFO then drag down on the Shape
control). After this, push the Attack
control on the Amp Envelope up to around
15ms to lengthen the sound’s onset.
> Step by step
3
Turn the VCA’s Analog control to 40%,
and push the Filter’s Drive to 6dB.
Increase the pitch glide control (Key) to
about 30ms to add subtle portamento,
then bring some bite and colour to the
sound in the Effects tab, loading a Tin Can
Reverb on FX A and a Delay on FX B. Back
FX B’s Mix off to 60%.
9. West Coast hip-hop lead with Strobe2
1
We can use portamento to create a
piercing West Coast hip-hop-style
lead. We’re using FXpansion’s Strobe2
again, but this technique will work with
any portamento-equipped synth. Set your
DAW’s BPM to 95 and import
HipHopLoop.wav and HipHopLead.mid
from the Tutorial Files folder.
3
Modify the main oscillator’s waveform
by lowering the Saw slider to 0% and
raising the Square slider to 100%. We can
apply LFO modulation to the Stack control
to add a little movement. Select LFO in the
top menu and use it to modulate the main
oscillator’s Stack up to 3, as shown. The
modulation sounds a bit linear, so change
the LFO shape to Sine to give it a
smoother motion.
2
Load Strobe2 onto the instrument
track, and turn the Voices control
(bottom left) down to 1 and Pitch Glide to
120ms. Now our patch can only play one
note at a time – ie, monophonically – with
120ms of pitch glide between them. This is
the portamento effect we’re after.
4
Our sound is a bit loud now, so turn
the VCA Volume down by 1dB. Let’s
modulate the main oscillator’s pitch sync
for a hard sync effect that creates extra
harmonics. Select ModEnv+ at the top
and modulate the main oscillator’s pitch
Sync by an amount of +12. Now, push the
Mod Envelope’s Attack to 7 seconds, and
Decay and Sustain to full, to make the
modulation happen more slowly.
synth sound design / make music now <
> Step by step
10. Punchy detuned dance lead using Dune CM
1
Let’s create a massive lead synth, ideal
for EDM, trap and other dance styles,
using Dune CM and other
Plugins.
We’ll be using Logic Pro X for this
walkthrough, but any DAW will do. Start
off by opening your DAW, setting the BPM
to 128 and importing the audio files
beginning “Dance…” from the Tutorial
Files folder.
4
Although we’ve already detuned our
oscillators using the Fat control, we
can use Dune CM’s Unison section to add
more voices to our patch. Turn the Voices
up to 3 and set Detune to 40% to make
our patch bigger and bolder. Next, use the
Unison Spread control to give the patch
more stereo width – we’ve set ours at
30%, adding to the stereo image without
going overboard.
7
Now we’ll modulate the FM effect we
set up earlier. In row 3, set LFO 2 to
modulate FM 1 with an Amount of -20. Set
LFO 2 to Sync at a Rate of 1 bar, and
change its waveform to a sine wave. The
FM amount will alter rhythmically across
the length of a bar, supplying an extra
layer of modulation that makes the lead
more sonically interesting.
2
Add a blank instrument track and load
Dune CM and DanceLead.mid onto it.
In Dune CM, select Bank B in the central
panel to initialise the synth for
programming. Dune CM’s Fat control
stacks up detuned oscillators for
thickness. Turn Oscillator 1’s Fat knob to
around 50%, and set the Mix to 60%,
mixing Oscillators 1 and 2 together.
5
Our patch is a little loud now, so turn
the Output section’s Volume control
down to around 25% to blend the lead into
the mix. Next, we’ll add some depth to the
sound by mixing in Oscillator 3, which is
tuned an octave down by default – set the
Level control to around 20%. We can mix
a little white noise in too, giving our lead
some much needed crunch, by pushing
the Noise Level up to 20%.
8
To make the sound even bigger, let’s
mix in a bright reverb. Add a CM Verb
after Dune CM, and select its Studio A
mode. Push the Reverb Time to around
1.5s and the High Cut up to 20000(Hz),
and adjust the reverb level to taste. To
finish off the sound, let’s create a delay
effect on an aux/return channel. Add one
in your DAW, and set its output to -18dB.
3
We can use a different waveform for
Oscillator 2 to add interest to our lead.
Set its waveform type to Sel, then choose
waveform 09 from the list below. Set
Oscillator 2’s Fat control to 70% for even
more thickness. Let’s get some frequency
modulation going – pull down the FM
Mode menu, choose 1 > 2 dual, and push
FM 1 up to 20% – our lead is now crisper
and cuts through the mix better.
6
Now that we’ve got a thick, detuned
lead, we can make it more interesting
by modulating some parameters with
LFOs. Click Mod Matrix 1>12 in the central
panel. In row 2, route LFO 1 to Osc Mix,
with an Amount of -90. In row 3, route
LFO 2 to FM 1, with an Amount of -20. Set
LFO 1 to a square wave with Sync
enabled and the Rate at 1/8, and you’ll
hear the mix amount being modulated.
9
Add a Wolfram CM to the return, set to
the Basic Ping Pong preset, with its
Mix at 100%. Send the lead channel to
this aux/return at -12dB, and add a
sidechain-enabled compressor after the
delay. Use the DanceKick channel as a
sidechain input, and set a Ratio of 2:1, a
fast Attack, a Release of 30ms and a
Threshold of -30dB.
March 2016 / COMPUTER MUSIC / 53
> make music now / synth sound design
10 synth FX tips
From risers and sweeps to
soundscapes and all-out
weirdness, build pro sound
effects with your synths with
these ten top techniques
02
BUBBLING SAMPLEAND-HOLD EFFECT
In the realm of synthesis, a ‘sample
and hold’ waveform captures
snapshots of a random noise source at regular
intervals, generating a distinctive, bubbling
‘random staircase’ waveform that can be used to
modulate other synth parameters. Its random
nature makes it well suited to weird FX synthesis
and sci-fi ’scapes – simply hook up a sample-andhold LFO to modulate an oscillator’s pitch before
enjoying the distinctive gurgling effect heard
throughout sci-fi cinema.
03
PUT A RING ON IT
Ring modulation is the process of
multiplying together two
waveforms, with the output
featuring the sum and difference frequency
value(s) of the two waveforms. This creates
additional harmonics called sidebands,
generating bell-like and inharmonic tones that
are ideal for clangorous FX creation. Many
synths – such as XILS-lab XILS 3 CM, FabFilter
Twin 2 and our own Dune CM – feature inbuilt
ring modulator modules that allow you to
combine two waveforms in this way.
04
01
NEXT-LEVEL NOISE SWEEPS
This issue’s free virtual instrument, Enkl CM,
is perfect for FX design thanks to its quirky
AM/FM oscillator modulation, dual resonant
filters and useful effects modules. For instance, try
creating a modern twist on the ubiquitous ‘white noise
rise’ effect by applying fast sine-shaped amplitude
modulation (AM) to a white noise oscillator; next, crank
up the filter’s resonance to maximum, then sweep or
automate the High Cut (ie, low-pass) filter from
minimum to maximum for a howling, screaming riser.
You can then use Enkl CM’s onboard EQ and delay
effects to add a brightening treble boost and wide
delay taps.
54 / COMPUTER MUSIC / March 2016
MODULAR FX
MADNESS
There’s a reason why synth heads
become addicted to the Legostyle approach of modular synthesis: patching
synth parameters, modulations and routings
can generate unique sounds that regular prepatched synthesisers often can’t. Reaktor,
Bazille and Moog Modular V are popular
commercial plugin modulars worth checking
out – and there’s more modular madness in the
CM Plugins folder, from Aalto CM and XILS 3 CM.
05
8-BIT BLASTS
The crunchy noise blasts and
sweeps heard on countless
videogame soundtracks of
yesteryear are a doddle to synthesise with
AudioThing’s miniBit CM. Start with the synth’s
sample-based noise waveform, modulate the
filter with a sample-and-hold LFO, then use the
inbuilt sequencer at its fastest 1/32T speed to
modulate the waveform’s pitch and volume,
creating stuttering lo-fi blasts.
Videogame-style noise blasts await you with miniBit
CM, thanks to its low-res oscillators and arpeggiator
synth sound design / make music now <
06
ONE-KNOB
WONDERS
Modern synth plugins such as
NI’s famous Massive have
popularised the use of macros: by assigning
multiple parameter movements to a single
rotary control, it’s possible to induce complex
timbral shifts over time via automation. This
technique is particularly useful when you’re
synthesising textural risers or evolving FX, as
only the single macro needs to be automated
throughout an arrangement. Start by creating a
bread-and-butter riser effect by assigning an
oscillator’s pitch to a macro control, and
automating the latter. Then move on to
assigning other parameters to this same macro,
focusing upon adding the maximum amount of
change and interest throughout the course of
the macro’s movement.
07
FILTERS ARE DOING IT
FOR THEMSELVES
Many synths’ filters are selfoscillating: cranking the
resonance up to max will cause the filter to
produce a tone of its own, which can be tuned to
a specific frequency via the cutoff knob. While
filter keytracking allows the makeshift oscillator
to be played at corresponding pitches via MIDI,
sweeping or modulating a self-resonating filter’s
cutoff is a technique best suited to the creation
of sci-fi wobbles, zaps and pitch-sweeping FX.
Try using an envelope to sharply sweep the
filter’s frequency down, creating a kick-like zap
that you can bathe in reverb for a cavernous
boom effect.
Widening your synth sounds with plugins? Your
first step should be to try it within the synth itself
08
09
FX DESIGN WITH FM
Famously popularised by the Yamaha
DX7 hardware synthesiser, frequency
modulation synthesis involves using the
frequency of one oscillator to modulate the frequency
of another, creating harmonically complex sounds.
While careful application is often used to synthesise
bells and realistic instruments, the effect can quickly
descend into dissonance and weirdness – often
highly desirable when designing FX! Have a go at
cross-modulating the two oscillators against each
other – ie, each performing FM on the other – for
even weirder, more complex timbres.
WIDE INSIDE
While you may like to widen
your synth sounds with external
plugins, be sure to first explore
any inbuilt width-generating features. Oscillator
auto-panning, oscillator spread, pseudowidening and even delay modules can turn a
static, centred synth tone into a stereo effect
that fills out the stereo image. For example, try
creating a simple patch in Enkl CM before using
its Stereo Width knob and Delay effect to add
impressive width. The big advantage of building
stereo width into your patches like this is that
you can recall the patch for later use, complete
with a mix-filling stereo image.
10
INSTANT SCI-FI RISERS
Synths with novel or unique LFO
features can inspire numerous
pitch-modulating effects – the Fade
In parameter on Dune CM, for example, makes it
easy to dial in evolving pitch modulation.
Initialise Dune CM, change Oscillator 1 to a
square wave, then turn the Fat knob up to 50%
for detuned thickness. Next, use Dune CM’s
modulation matrix to assign an LFO to modulate
the oscillator’s pitch: set LFO 1 as the Source, Osc
1 Semi as the Destination, and set the maximum
+100 amount of modulation for this routing.
Next, switch LFO 1’s shape to a square wave and
apply a fast rate of 38Hz to give the square wave
a gnarly, gritty timbre. In order for the
modulation to open out over time, turn the LFO’s
Fade In amount up to between 8s and 10s,
introducing the LFO’s effect slowly after the
sound starts, creating an interesting ‘crosspitching’ effect as the modulation interacts
with the square tone. Finally, add reverb or
widening effects to make the sound even
more enticing.
March 2016 / COMPUTER MUSIC / 55
> next month
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Producer Masterclass
HANNAH V
The pianist and producer shows
us how she put together an epic
track for soulful sensation Andreya
March 2016 / COMPUTER MUSIC / 59
> make music now / producer masterclass
Starting out as a jazz pianist hustling
for cash in London’s bars and hotels,
Hannah V has had a fascinating journey
to becoming a producer, and has worked
with an incredible array of famous names
including pop princesses Rihanna and
Jessie J, and underground stars such as
broken beat legends Bugz in the Attic. We
caught up with her at collaborator Alex
Hayes’ East End studio, to uncover her
production secrets and ask – given that
she’s only the second woman to appear in
Producer Masterclass – why there aren’t
more female producers out there.
“There just aren’t that many of us. The
numbers are pretty shocking: under 5% of
commercial music is produced by women.
No woman has ever won a ‘Producer of the
Year’ Grammy or anything like that. Doing
things like [Producer Masterclass] is really
important, though, and I’m just glad I’m not
the first! Hopefully, seeing that a woman
can do it will inspire others to try and
become professionals. There aren’t many of
us around, but things are changing, and I’m
positive about the future.”
“Back then I was quite a
snob, and I only really
wanted to play piano”
Was it Hannah’s childhood dream to be a
producer? “No, it was to have a jazz trio like
Herbie Hancock, tour the world and only
play Bösendorfers!” she confesses. “I
trained as a jazz pianist, so that’s what I
wanted to do. I came from Berlin, where I
grew up, to study at the Royal Academy of
Music in London. I quickly realised that,
because I hadn’t grown up in a musical
family as such, my roots were pop and
hip-hop, so even at the academy my ear was
drawn to popular music. After I graduated, I
realised that it’s really hard to make a living
as a jazz pianist. I had to have ‘normal’ jobs,
playing in bars and restaurants, and
VIDEO
MASTERCLASS
Hannah shows us
how she wrote and
produced Andreya
Triana’s monumental
Branches of Life for BBC
Radio 3’s Body of Songs
project. Watch the video at
bit.ly/HannahVPM
60 / COMPUTER MUSIC / March 2016
Selected kit list
HARDWARE
Apple MacBook Pro
Apogee Quartet
Focusrite ISA One
Neumann U87
Yamaha Motif XF8
Access Virus TI
Focal Twin6 Be
Native Instruments Maschine
SOFTWARE
Apple Logic Pro X
Native Instruments Komplete 9
Arturia plugins
IK Multimedia plugins
Rob Papen plugins
teaching music. The way I got into pop was
by becoming a session player – I got my first
gig through one of my friends, and I played
keyboard for Charlotte Church.”
But up to this point, Hannah’s exposure
to music technology had been limited.
“This was the first time I’d ever been
introduced to keyboards, really. Back then, I
was quite a snob, and I only really wanted to
play piano and maybe the Rhodes. I hadn’t
really been introduced to synths. Working
with Gnarls Barkley was the first time I got
stems – I didn’t even know what stems were!
I managed to just about buy my first Mac,
and started programming. I had to figure it
out on the job! A lot of my friends helped me
out, and I read manuals and just learnt it.
“One of the main points in my production
career was when I played for Bugz In The
Attic, who are an amazing broken beat
collective. I was in their live band for a
couple of years, and they introduced me to
analogue synths, production, how to
ReCycle a break, how to line up kicks, how to
layer drums… I learned a lot of production
just from being on the road with them.
Those guys also introduced me to jazz-funk,
and my love for synths really started there.”
As Hannah’s profile as a session musician
grew, she got an insight into how some of
pop’s biggest producers got their sounds.
“My session gigs got bigger and bigger. I
was playing for Anastasia, Sugababes, Jason
Derulo… then I got the call for Rihanna. I was
in a band with some of the best musicians in
the world. It also helped that I got the stems
for all these songs from all these ridiculous
producers, so I was sitting there analysing
Kanye West or whoever’s productions! The
whole time I was producing on the side, and
I got signed by Sony, so I decided to quit my
session career completely. I went from
being a part-time producer to being signed
to a major – it was crazy!”
producer masterclass / make music now <
Atmospheric pads
with Guitar Rig
19:35
While working on the track, Hannah
experiments with guitar parts, including
the rather basic ‘Clean Electric Guitar 1’ patch from
Logic’s EXS24. This doesn’t sound very impressive on
its own, but she runs it through Native Instruments’
Guitar Rig, selecting the ‘Spinning in Space’ preset.
This instantly transforms the guitar patch into a
glorious shimmering pad with lots of movement. “It
didn’t sound anything like a guitar, but it gave me this
nice pad. Sometimes things happen out of mistakes –
that’s just the way it is; you just have to go with
them!” Hannah grins.
Piano chords with Alicia’s Keys
02:25
The intitial idea for the song starts
out with a sample of a heart
monitor, playing on the note D. Hannah creates a
chord progression with Native Instruments’
Alicia’s Keys piano instrument for Kontakt, laying
down a simple Dmin, Gmin, Amin, Gmin chord
progression that fits with the pitch of the heart
monitor sample. This chord progression is then
bounced down to audio for further manipulation,
and Hannah creates a cunning aural metaphor by
making reversed copies of each chord that segue
into the next, giving the part a ‘breathing’
dynamic as the chords smoothly rise and fall in
volume. See what she’s done there?
“As a keyboard player, you sometimes
fall into similar patterns, so working on
pads gives me a different vibe”
Beats with Maschine
07:06
Bass with
SubBoomBass
Hannah is a big fan of Native
Instruments Maschine: “I always
program my drums on Maschine – I like the creativity
it gives me, and I like being away from the keyboard.
As a keyboard player, you sometimes fall into similar
patterns, so working on pads gives me a different
vibe. Once I figure out my pattern, I put it into MIDI
mode and record straight into Logic, and then, if I
have to manipulate it, I bounce it out.” The beat
begins life as a kick and snare pattern, and for a jazzy
feel, a swinging ride cymbal is laid over the top.
Hannah beefs up the snare with some extra samples,
including a heavily reverbed second snare.
Vocals with
Waves plugins
32:23
The first thing Hannah does with
the vocal is gently pitch-correct it.
“With a voice like Andreya’s that has so much
character, you absolutely cannot touch her
vocal with anything like Auto-Tune. If you’re
going to tune, it has to be done through
Melodyne, and you have to be very sensitive
when moving the notes, because you don’t
want to lose the rawness. I didn’t want to lose
the inflections or the vibe, so it was just a matter
of tidying up certain sections, especially in the
harmonies.” Hannah EQs the vocal with Waves’
SSL E-Channel, compresses it with Waves
CLA-76, adds a touch of delay with PSP 84,
and applies reverb from Waves RVerb.
HEAR MORE
04:08
The time has come to
create a big, beefy bass
sound for the track, so Hannah calls on Rob
Papen’s SubBoomBass – specifically, the
‘Serial 8 Boom’ preset, located in the
deepest depths of the ‘Sub’ category. “The
beautiful thing about this is that it sounds
like an 808, but it has a long release,”
Hannah enthuses. The sub bass follows
along by playing the root note of each
chord, and to add a little melodic interest,
Hannah adds a complementary sawtooth
synth bassline over the top of it using her
Access Virus TI. The sawtooth bass is then
bounced to audio in order to keep
everything together in the DAW, ready for
the mixing process.
It Ain’t Right (ft. LaBelle)
bit.ly/ItAintRight
Version 2.0 (ft. Ama Schreyer)
bit.ly/HVver2
soundcloud.com/hannahvofficial
twitter.com/HannahV
facebook.com/HannahVofficial
March 2016 / COMPUTER MUSIC / 61
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U LT I M AT E
ARPEGGIATORS
Conjure up instant runs,
melodies, chords and
even beats with our
essential guide to these
inspirational processors
Arpeggiators aren’t just great fun to mess
around with – they’re also amazingly
powerful creative tools, taking the hard work
out of producing rapid runs of notes that fit in
with a particular set of chords. All you have to
do is hold down the chords in question, or
program them into your MIDI editor’s piano
roll, to have your arpeggiator step through
their constituent notes rapidly in a
predetermined sequence. The upshot is that
with minimal input, you can effortlessly
produce driving 16th-note basslines or
complex, interwoven melodic sequences
based on the chord you’re currently playing.
The arpeggiator as we know it today first
appeared as a built-in feature on various
analogue synths of the late 70s and early 1980s,
such as the Korg PolySix. The PolySix’s onboard
arpeggiator only included controls for speed (it
could be clocked from an external sequencer or
drum machine), octave range (1, 2 or all octaves
of the keyboard), pattern (up, down or both) and
latch (enabling the arpeggio to continue running
after you’d lifted your hands from the keys), but
modern variants are considerably more complex
and versatile.
Today, you don’t even have to fork out any
dosh for such inspirational modern arpeggio
action – our own free
Plugins collection is
packed with creative devices, from software
synths like miniBit CM and Dune CM, which
include simple step sequencers that allow you to
program your own note patterns, to standalone
effects such as Cream CM and Nora CM, which
successfully jettison the synth altogether and
work solely as MIDI plugins. The latter are so
advanced that they almost fall into their own
‘mini-sequencer’ category, designed to be
hooked into the MIDI signal path between your
DAW and any third-party synth or sampler.
All of these plugins are available for
download from vault.computermusic.co.uk,
and in this tutorial, we’re going to use them to
unearth some advanced arpeggiator tricks
and techniques.
With all that said, then, let’s get down to
creating some memorable works of arp!
March 2016 / COMPUTER MUSIC / 65
> make music now / ultimate arpeggiators
> Step by step
1. Arpeggiator basics with Cream CM
TUTORIAL
FILES
1
Let’s get a grip on Cream CM’s
standard arpeggiator controls, which
are the same as those on countless synths.
Import the ArpBasic Drums.wav and
ArpBasic Chord.mid files into a new
project at 134bpm, then load up u-he’s
Zebra CM and connect an instance of
Cream CM to its input. Set Cream’s
operating note range (top-left corner)
from C0 to C10.
Hooking up MIDI
plugins/arpeggiators
Getting the MIDI routing right
when using MIDI plugins such
as Cream CM and Nora CM can
be confusing, as the setup
process varies from DAW to DAW
(if in doubt, consult your
manual). For example, to use
Nora CM with Logic Pro X, you
need to install and use the MIDI
FX version of the plugin, loading
it into the MIDI FX slot on the
channel of the software synth
you’re arpeggiating.
On the other hand, to use Nora
CM in Cubase, you have to create
two MIDI tracks, the first with
Nora CM loaded and the second
hosting your soft synth. Route
the MIDI output of the Nora CM
track to the synth track’s MIDI
input, then drop a MIDI file or
record some chords onto the
first track – Nora CM will process
the MIDI data and feed a
corresponding stream of notes to
the synth on the second track.
To set Cream CM up in Ableton
Live, create two new MIDI tracks,
then put a synth on the first
one and Cream CM on the
second. Set the synth channel’s
input to X-CreamCM (with ‘X’
being the CreamCM track
number) and input channel to
CreamCM. Activate monitoring
on the synth channel, then
program or record some chords
on the Cream CM channel. These
will be processed by Cream CM
and passed to the synth’s MIDI
input to trigger it.
66 / COMPUTER MUSIC / March 2016
2
Set up a four-bar cycle range in your
DAW and press play. You should hear
the three notes of the Gm chord in the
MIDI file played as a high, repeated
arpeggio. Set the Transpose knob to -12 to
drop the whole part down an octave, then
use the Gate control to adjust the length
of each generated note – negative values
make the notes progressively shorter;
positive values increase the note length.
> Step by step
1
3
3
Increase the arpeggio’s range by
turning the Octaves knob up from 1 to
3, so that the generated notes span three
octaves of the keyboard; then adjust the
Rate control to change how many notes
are generated within a bar. By default, this
is locked to the host tempo and adjusted
in musical note values – 1/16, 1/8, etc, with
dotted and triplet variations available.
2. Generating a melodic top line from chords
If you’re having trouble coming up
with a suitable melody, arpeggiators
can generate lead lines or melodies that
are guaranteed to work with existing
chord progressions. If you don’t have a
chord sequence, hook Melodic Arp
Chords.mid up to a piano or synth patch
in your DAW, then copy and paste the
chord part to a new MIDI track.
Set Cream CM’s Rate control to a slow
speed – we’ve chosen quarter-notes to
trigger a new note four times in every bar.
Any other arpeggiator should feature a
similar control. For a smoother, more
legato effect, set the Gate control to
100%, lengthening the notes so that they
invoke the synth’s Glide mode and slur in
pitch as they transition.
2
On the new track, set up an
arpeggiator plugin, or a synth with an
arpeggiator built in. We’re using Cream
CM and Dune CM. Load one of Cream’s
presets to use as the basis for the melody
– we’ve gone for TranceArp01 from
Cream’s Factory » Lead section. We’ve also
chosen the 020 Doom SDX Dune CM
preset as the sound for our melodic lead.
4
Set Cream’s Velocity Mode to Max to
make each note in the melody as loud
as possible, then reduce its overall volume
down to around -5dB. Add a splash of
delay to spice up the sound a little. To
change the melody, simply choose a new
Cream CM preset pattern – each will
interpret the chords in a different way.
ultimate arpeggiators / make music now <
> Step by step
1
Import P3ArpChords.mid into your
DAW. It’s a set of sustained, 1-bar
chords containing notes of varying
lengths and velocities. Hook it up to Zebra
CM (playing the TUC Standard Short
Bass preset), fed by the Cream CM MIDI
FX plugin, loaded with the Misc » YesMoog-Chords preset.
> Step by step
1
2
Note velocity is usually passed on by
arpeggiators to the generated notes,
but it’s often desirable to have all
arpeggiated notes at the same velocity. If
your chosen sound is particularly velocitysensitive, making all the input note
velocity values the same will ensure an
even result.
3
You’ll also need to ensure that all
notes of the input chord are the right
length, and make the gaps between each
chord as short as possible without the
notes overlapping. With no discernible
gap between the chords, each bar is full of
arpeggiated notes.
4. Automating Dune CM’s arpeggiator rate for stuttered FX
Import CDrums.wav and CKeys.mid
into a 128bpm project. Load Dune CM
on a MIDI track – we’re going to use its
Chord mode, which rhythmically triggers
whole chords instead. Select the 015 Cool
House RL preset. Press play – you should
hear a static Cm7 chord over the transition
between bars 4 and 5.
> Step by step
1
3. Programming chords with an arpeggiator in mind
2
Enable Dune CM’s Arp mode in the
Output section. Switch the central
display to Arp Pat view and set a C3 in the
first step. Set Steps to 4, Length to -50%,
Mode to Chord and Sync to Off. This last
setting unlocks the arpeggiator’s Rate
parameter from the project tempo, which
will allow us to smoothly automate it.
3
Since the Mode is set to Chord, Dune
CM should now be playing short,
staccato Cm7 chords over the transition.
Use your DAW’s automation to control
Dune CM’s Arp Rate parameter. Plot
control points as shown to slow the rate
down, and finish things off with a splash of
tape delay on the synth channel.
3
These values represent all octave (+12)
and perfect fifth (+7) intervals, so the
resulting ‘spread chord’ can be used over
both major and minor chords. In the top
right corner, set the rate parameter to its
fastest setting, 1/32T, generating a rapid
splurge of notes when you hit a key. Add a
splash of delay and you’re ready to rock!
5. Arpeggiated 8-bit chords with miniBit CM
The sound chips in old-school
computers and games consoles had
limited polyphony, so composers would
often use fast, monophonic arpeggios
instead of chords. To recreate this, load an
instance of AudioThing’s miniBit CM onto
a software instrument track in your DAW.
Select the [00]-INIT preset.
2
Click the ‘lines’ button to the left of the
preset display to bring up the step
sequencer section. Activate the Pitch
button, then use the mouse to scroll the
pitch offset value in each box to the values
shown above. The numbers represent a
number of semitones of offset relative to
the original note.
March 2016 / COMPUTER MUSIC / 67
> make music now / ultimate arpeggiators
> Step by step
1
6. Polyphonic arpeggiation with Nora CM
A polyphonic arpeggiator can output
chords rather than just monophonic
sequences of single notes, and
SquaredHeads’ Nora CM, which debuted
in
225, is one such plugin. In Logic Pro
X, Nora CM is implemented as a MIDI FX
plugin, so first we need a software synth to
insert it in front of – enter Synapse Audio’s
Dune CM, loaded with the 090 Silk Lead
RH preset.
2
We need some chords to use as input
for the Nora CM plugin, so import
NoraChords.mid into the project, onto the
Dune CM track, at a tempo of 140bpm.
Import NoraDrums.wav and NoraBass.
wav into the project if you feel like you
need some accompaniment. Hit play to
hear how the chords sound au naturel.
4
Here’s the clever bit. When you hit
play, Nora superimposes the note
pattern you’ve created over the chords
appearing at its MIDI input, and sends out
a polyphonic arpeggio based on these
combined elements. The one-bar pattern
that you’ve programmed loops around as
the track plays, so that each chord change
is broken out and replayed according to it.
3
Insert Nora CM as a MIDI FX plugin on
the Dune CM track – refer to the
instructions for your particular DAW,
found in the Nora CM folder. Open the
plugin window and click to insert some
notes into Nora’s phrase editor, in a
similar pattern to the one shown here.
Note that this is a polyphonic
arrangement, with multiple notes
playing simultaneously – ie, chords.
5
We can create extra depth by adding
more notes to the sequence. Rather
than a conventional piano keyboard
layout, the phrase editor features clusters
of three notes. Each note in the central
cluster represents a note from the input
chord, while the cluster above represents
an octave higher and the one below an
octave lower. We can thus add some bass
notes in the lower register.
3
For something a bit more extreme,
switch to 059 Meloblast RH, which
uses Dune’s Dynamic arpeggiator mode.
The lowest received note governs the
base key of the sequence, but each step
can be overridden by adjusting the value
in the third column of the pattern, so that
the second or third note is triggered.
POWER TIP
>Collect your clips
Nora CM’s playlist feature
allows easy sequencing of your
clips. By copying the current
phrase, you can make changes to
the notes within it and save the
result as a separate phrase. This is
done using the ‘Make Unique’
option in Nora’s Edit menu. You
can then arrange your saved
phrases into a sequence by
dragging and dropping them
around the playlist area in the
lower section of Nora’s interface.
> Step by step
1
7. Chaining multiple arpeggiators for complex results
Chaining arpeggiators together can
produce unexpected and spectacular
tunes. Using the previous tutorial’s final
result as our starting point, changethe
Dune CM preset to one that features an
arpeggiated sound – such as 044 Ice Rain
RH, shown here.
68 / COMPUTER MUSIC / March 2016
2
To see what’s going on, click Dune
CM’s Arp Pat button. The Arp Mode is
set to Voice 2/4/6/8. Each chord delivered
by Nora CM to Dune CM is played by an
eight-voice patch – odd-numbered voices
are sustained and even-numbered voices
are arpeggiated. The result is a pleasant
mix of chords and arpeggiated melody.
ultimate arpeggiators / make music now <
> Step by step
8. Using an arpeggiator as a drum sequencer
1
Using an arpeggiator to sequence
percussion sounds is a great way to
come up with imaginative new grooves.
Start a new 120bpm project in your
DAW of choice and import the audio file
GroooveCMKick.wav from the
Tutorial Files folder onto a new audio
track. This will provide a solid four-to-thefloor backbeat to our arpeggiated
percussion groove.
4
On the Grooove CM track, create a
MIDI region and program a MIDI note
event for each of the six pitches triggering
the drum sounds. Extend the length of
each note to fill the entire region,
effectively creating a long, six-note chord.
This will tell the arpeggiator what notes to
play. Press play and you should hear all
the percussion sounds trigger together in
one big chunk at the start of the region.
7
Let’s say we want to use these sounds
to play a two-bar pattern of eighthnotes. To do this, set the Rate parameter
to 1/8, and in the Pattern Controls section,
click the Reset On New Note button. This
starts the pattern from the top each time a
new set of trigger notes is received. Snip
the original four-bar triggers in half in the
piano roll editor, so that the sequence
triggers every two bars.
2
Create a new software instrument
track and load an instance of our
Grooove CM drum sampler onto it. Like all
the other plugins in this tutorial, you can
get it from vault.computermusic.co.uk.
Grooove CM is a drum sample playback
instrument that can house up to six drum
or percussion samples, one on each of its
six ‘keys’.
5
Now the fun begins! Insert a MIDI
arpeggiator – we’re using Cream CM –
before the Grooove CM plugin. Hit play
again and you should hear the percussion
sounds cycling through as Cream CM
arpeggiates the chord, generating a
string of 16th-notes that loop around our
six note pitches.
8
Duplicate this setup on a second track.
For this instance of Grooove CM, load
the supplied Grooove Arp Hats CM preset
(found in the Tutorial Files folder) – it’s six
acoustic hi-hat samples assigned to the
same six notes used in the Techno preset.
Copy the MIDI region to the new track,
then set Cream CM’s Rate to 1/16 to
generate a hi-hat pattern that works nicely
over our percussion groove.
3
Load a Grooove CM preset to fill the
six keys with a set of six percussion
samples – we’ve chosen the Techno kit.
We already have a kick drum supplied by
the audio file, so we tune the kick drum
sample up by 12 semitones to make it
more of a percussion sound. Make a note
of the MIDI keys that trigger each of
the six sounds – we’ve got C1, D1, D 1, F 1,
B1 and C2 here.
6
Experiment with the Rate parameter
to adjust the speed of the arpeggio
and, consequently, the frequency of notes
in the groove. Because you’re cycling
around a set of six notes, this creates a
variety of rhythmic patterns when looped
over a 4/4 backdrop. Triplet patterns can
produce especially interesting results.
9
Using Cream CM’s Rate controls in this
way can lead to some really creative
and interesting rhythmic interplay
between the two sets of sounds. For
something really out there, try setting the
hi-hats’ Rate control to 1/8D to get a
rolling, off-kilter groove. Combining
rhythms in this way is almost certain to
get you out of any rhythmic rut and
inspire new percussive creations!
March 2016 / COMPUTER MUSIC / 69
HOW TO USE…
ZOR
Stay sharp with our guide
to Native Instruments’
innovative soft synth
DOWNLOAD
See it in action in video
on your PC or Mac via
vault.computermusic.co.uk
Designed and developed by
Native Instruments in
conjunction with Berlin-based
musician Errorsmith, Razor is
regularly cited as one of the best,
most radical-sounding virtual
instruments ever made. In our
review in
165, although
“initially a tad sceptical about
Razor, it being ‘just’ a Reaktorbased affair and entirely
additive”, we were ultimately
“duly humbled”, scoring it 9/10.
A single-bank additive synth
running in NI’s Reaktor or Reaktor
Player shell, Razor gives you ‘en
masse’ control of the frequencies,
amplitudes and phases of its 320
partials, simulating all manner of
analogue, digital and hybrid
oscillators, filters and effects, via a
familiar set of parameters and a
powerful, expressive modulation
system. That’s right: like the synth’s
raw source signal, the filters and
effects are also created at the
additive level. In fact, the only
element that isn’t additively
conjured is the Dynamics Effect at
the very end of the signal chain.
The signal path, as represented
by the interface, begins with a pair
of simulated oscillators. These are
fed into a serial pair of simulated
filters, the output of which hits a
Dissonance Effect for harmonic
shifting, then a Stereo Effect for
panning and reverb simulation, and
finally, the not-simulated Dynamics
Effect mentioned above. Although
the vast majority of these
processes are doing nothing more
than throwing a single spectrum of
partials around, the uninformed
user wouldn’t know that they
weren’t operating a collection of
traditional discrete generating and
processing modules.
So what advantages does this
underlying additive architecture
give us? There are too many to
count: unique oscillator waveforms,
and filter shapes with resonant
properties and parameters that
couldn’t exist in a subtractive synth;
tuned reverbs ‘played’ as part of
the instrument; echoing envelopes;
crazy panning effects; and all sorts
of harmonic manipulation. It’s truly
amazing stuff.
In this tutorial and its
accompanying videos, we’ll walk
you through most of Razor’s
controls, showcasing some of the
cutting-edge sounds that can be
made with it along the way.
March 2016 / COMPUTER MUSIC / 71
> make music now / how to use razor
> Step by step
1
1. Loading, saving and morphing Razor’s Snapshots
Razor uses Reaktor’s Snapshots
system to store and load presets. Load
a Snapshot by clicking either of the
Snapshot menus at the top of the Razor
or Reaktor GUIs and selecting from the
list, or clicking the camera button in the
sidepane (revealed with the magnifying
glass button) to switch to the Snapshots
view, which lists Razor’s banks at the top
and Snapshots below.
> Step by step
2
To save Snapshots in the full version of
Reaktor, activate the Edit button and
use the Add (saves to the last slot of the
current bank), Store (overwrites the
selected Snapshot) and Insert (saves into
the next Snapshot slot after the selected
one) buttons located right at the bottom
of the Snapshots pane. Reaktor Player
can’t save Snapshots, but Razor’s settings
are saved as part of the host DAW project.
3
The Morph + Random section contains
controls for morphing between two
Snapshots, loaded into the left and right
slots. The Morph slider interpolates them
at a speed determined by the Blend Time
below; the Randomize and Random
Merge buttons can be used to randomise
the parameters of the current Snapshot or
randomly merge the parameters of the
two Snapshots by the central amount.
3
The Ratio spinner is the equivalent of
an analogue oscillator’s pitch control,
multiplying the frequency, with octave
jumps at 2, 4, 8, 16 and 32. The second
digit of Oscillator 2’s Ratio simulates
‘beating’ against Oscillator 1 by
increasingly modulating the amplitude of
coincident partials the further its raised –
very useful for detuned patches.
6
Highlights among the more out-there
oscillator types include Number,
Mixed and Sick Pitchbend, giving what NI
describe as “pseudo-pitchbend” sounds;
Pitched and Synced Noise, which
essentially randomise partial amplitudes
to create random waveforms and/or noise
effects; and Formant, which features 32
wave shapes and can shift the phase of
the partials when loaded into Oscillator 1.
2. Understanding Razor’s Oscillator sections
1
Rather than generating raw signals
from scratch, Razor’s two oscillators
effectively emulate a range of
conventional and unusual waveforms by
shaping the frequencies and amplitudes
of partials. To turn each one on – or, more
accurately, to apply its shaping to the
partial spectrum – click its power button.
4
Each oscillator type adds to these
common controls with just one or two
additional parameters, making them all
very easy to use. Among the most basic of
the 14 types, Pulse to Saw and Octaves to
Saw add a control for transitioning
between their two named waveforms – a
pulse wave and a sawtooth, and a series of
octave partials and a sawtooth.
72 / COMPUTER MUSIC / March 2016
2
Razor offers a choice of 14 oscillator
types. Clicking the name of either
oscillator opens the oscillator picker in the
main display, and clicking a type loads it
into that oscillator. A handful of controls
are common to all four types. Amp
establishes the amplitude level, or volume,
of the output, while Colour is a tilt EQ for
shifting the overall frequency emphasis.
5
The Pulse Width and Hoover
oscillators each have a single PW
knob for manipulating the partials to
adjust the width of the resulting pulse
waves; while Sync Classic and Sync
Dissonance emulate pairs of synced
oscillators, the first enabling shifting from
pulse to saw waveshapes, and both
emulating offset of the pitch of the synced
oscillator via their Sync knobs.
how to use razor / make music now <
> Step by step
3. The additive Filter banks in Razor
1
Razor’s filters don’t actually filter the
output from the oscillators in the
conventional subtractive sense – instead,
they shift the amplitudes of the partials to
emulate and expand on the same process.
Filter 1 always comes first, offering five
low-pass variations, one band-pass, and
five more creative options; while Filter 2
features eight overt ‘effect’ filters.
4
Filter 2’s types start with Lowpass,
Highpass, Bandpass and Band Reject.
Multimode Dirty morphs smoothly from
low-pass through band-pass to high-pass,
with variable resonant bandwidth. Comb
Peak and Comb Notch emulate comb
filters, boosting/attenuating certain
frequencies for edgy phaser and flanger
effects. Further phasing effects can be had
with the Phaser type.
> Step by step
1
2
Filter 1’s Lowpass types go way
beyond their conventional analogue
equivalent, with Boost and Width (or
Stretch, in the case of Lowpass Dirty) dials
improving on the usual resonance control
by applying a resonant boost or cut of
separately adjustable gain and bandwidth
at the cutoff frequency. All but Lowpass
Dirty also allow tilting of the filter Slope.
5
Waterbed employs a simulated model
of waves in water as a filter curve
shape for yet more phasing, this time of
the undulating kind. Pseudo Pitchbend
combines high-pass and comb filtering to
simulate pitchshifting; Gaps is an
invertible ‘hard-edged’ comb filter; and
Unisono Noise rapidly modulates the
amplitudes of partials to give the
impression of multiple signals.
3
The Bandpass Filter type features
independent bandwidth controls for
the filter itself and the resonant boost. EQ
Decay and Formant Decay are a five-band
graphic EQ and formant filter respectively,
with the Decay dials and other controls
working together to create evolving
frequency tail-offs and ‘plucked’ sounds.
6
The three dials at the left-hand end of
each filter control the smoothing of
the partial amplitudes with fast filter
movements. Attack sets the speed with
which the Filter Smoother kicks in when
partial amplitudes rise (eg, raising the
frequency of a low-pass filter); Decay does
the same but for drops in amplitude; and
Damp reduces the decay time for higherfrequency partials.
3
On the faux physical modelling side of
things, the Stiff String and Metal
effects do exactly what their names
suggest. Nearly all the Dissonance Effects
feature an Amount dial, for setting the
depth of manipulation applied to the
partials. The other controls – Pitch,
Partial, Quantise and Speed – alter the
amplitudes and/or frequency distribution
of the partials involved.
4. Wielding Razor’s Dissonance Effects
The Dissonance Effects section is key
to unlocking the weirder, darker side
of Razor. When it’s turned off, the partials
are harmonically tuned, each one a
precise multiple of the fundamental
frequency (the lowest partial). Turn it on,
though, and one of 14 detuning effects can
be applied, taking things in a decidedly
inharmonic direction.
2
The impact of each Dissonance Effect
on the partials making up the signal
can be clearly seen in the main display,
which really helps when it comes to
understanding what they’re doing.
Although a few of the effects are designed
to simulate physical modelling, most of
them are abstract in nature, enabling
stretching, shifting, reversal, noisifying
and general transformation of the partials.
March 2016 / COMPUTER MUSIC / 73
> make music now / how to use razor
> Step by step
5. Stereo effects and Dynamics in Razor
1
Rather than being discrete audio
signal processors, Razor’s nine
polyphonic Stereo Effects do their thing
by messing with the amplitudes of the
partials in the left and right channels. Click
the Stereo Effects header bar to the right
of the Dissonance Effect and make your
selection in the main display. The top row
focuses on stereo manipulation, while the
bottom row deals primarily with reverb.
4
The Dynamics Effects are Razor’s only
actual audio signal processors,
processing the final output of the additive
engine, including the Stereo and
Dissonance Effects. There are six of them,
loaded in the usual way via the main
display, and the horizontal meter at the
bottom of the section shows the amount
of gain reduction being applied for all of
them except Rectifier.
2
Auto Pan, Stereo Spread and Simple
Pan present three options for
automatic and static (but modulate-able)
panning, with the Ramp control reducing
the effect on low-frequency partials.
Chorus is a simulation of its eponymous
process, and Unisono Noise does the
same thing as the filter type of the same
name, though with the addition of the
Ramp control.
5
Compressor and Clipped Compressor
both work to a fixed threshold, with
the Drive knob raising the gain to push
the signal over it. Compressor features
variable Release time, while Clipped
Compressor feeds into a soft clipper. Dirty
Limiter combines limiting with
waveshaping distortion, the sound of
which is heavily influenced by the
Dissonance Effect.
3
Razor’s three main reverbs – Reverb,
Reverb Synced and Resonant Reverb
– sound very different in Monophonic and
Polyphonic modes. In Polyphonic, each
voice has its own pitched reverb tail, while
in Monophonic, each new note repitches
Reverb and Resonant Reverb’s tails, and
kills the tail of Reverb Synced. Air is related
to Unisono Noise, applying gentle reverb
to just low-amplitude partials.
6
More distortion is provided by the
Saturator, Clipper and Rectifier effects.
Saturator gives independent control of
high- and low-frequency overdrive; Clipper
gets filthier as the Foldover is raised; and
Rectifier includes adjustable Bandwidth
and allows for parallel processing with its
Amount control. Again, your choice of
Dissonance Effect will have a big influence
on the sound of all three.
6. Razor’s Voicing, Global Controls and View B
Razor’s Voicing section controls the collective
pitch and starting phase of the partial bank.
The Pitch and Fine knobs set the pitch in
semitones and cents, the first being available
as a modulation target. The Glide knob
determines the glide or portamento time
between notes, with no portamento at all
when set to zero; activate Auto to apply
portamento to overlapping notes only.
The Phase knob controls the phase of the
320 individual partial oscillators – when turned
fully clockwise, they run free, varying the
attack from note to note for a more ‘analogue’style sound. Randomisation of the phase with
each new note can be dialled in using the
Random knob.
Directly above the Graphical Display sit the
Global Controls. The Mono/Poly button
switches between one-voice monophonic and
74 / COMPUTER MUSIC / March 2016
View B allows you to see just the Macros and Scope display
six-voice polyphonic modes, the latter being
adjustable in Reaktor’s Instrument Properties
but not in Reaktor Player. In Mono mode,
Single Trigger makes a note played while a
previous note is held change the pitch of the
first note rather than trigger the new one;
while Poly mode’s Voice Limit sets the
maximum number of simultaneous voices
allowed below note G1 in order to save on CPU
cycles, which lower notes use more of than
high ones.
The Low, Medium and High Quality settings
affect the additive engine update rate, each
with a commensurate change in CPU usage.
High is the only one that calculates all 320
partials to 100% accuracy, and even then, only
in Mono mode.
At the right-hand end of the Global Controls,
you’ll find the Macros button, which opens the
Macros page, and the Output knob, which is
Razor’s master volume control.
Finally, Razor’s View B, invoked via the B
button, reduces the interface to just the eight
Macros and the Scope display. Macros can only
be assigned to MIDI controllers and/or host
automation here.
> make music now / how to use razor
> Step by step
1
7. Understanding Razor’s Spectral Clip and Safe Bass
To the right of the main display, the
Spectral Clip module clips all partials
exceeding the Clip threshold, with the
Pitch Cutoff parameter (which tracks
incoming MIDI note pitch) setting a
frequency above which the threshold falls
at a progressive rate determined by the
Slope knob. Use it to rein in undesirable
peaks in the frequency spectrum.
> Step by step
2
Immediately after Spectral Clip in the
signal path, Safe Bass effectively
emulates a sub-bass oscillator by
introducing a ‘saw wave’ shape at the
fundamental and lowest partials. It’s ideal
for bringing clear bottom end back to
heavily manipulated patches, and it even
works on its own with both oscillators
disabled, so you can use it as your main
source generator if you like.
8. Modulation with Razor
1
To assign a modulation source to a
parameter, click one of the
modulation slots underneath the
parameter, choose your modulator from
the main display, and set the modulation
depth using the rotary control. A grey ring
around the parameter control visualises
the modulation.
3
Razor’s two LFOs offer a good
selection of wave shapes, and can run
free in Hertz mode, or synced and
retriggered in Beats mode. LFO 2 can also
be slaved to LFO 1, with variable Phase
offset. The Sidechain source produces a
signal by scaling a modulator loaded into
its lower slot with that loaded into its
upper slot. With none loaded, Sidechain
simply outputs its Amount value.
76 / COMPUTER MUSIC / March 2016
2
The Echo Steps modulator works like a
delay, stepping the target parameter
up or down with each incoming note at a
rate determined by the Delay and
Feedback controls. Activating the Echo
button on an envelope applies that same
stepped ‘delay’ to the target, but with each
step shaped by the envelope.
4
The MIDI and Tracking modulators
comprise the usual Velocity, Mod
Wheel, Pitch Bend, Aftertouch, Key and
Pitch options, as well as tracking of Filter
1’s cutoff frequency. And finally, each
module type (Oscillators, Filters, Effects
and Modulators) has access to two Macro
knobs, each of which can be assigned to
as many parameters within those modules
as you like.
3
The Amount dial controls how heavily
the amplitude of the lower partials is
governed by Safe Bass – fully clockwise,
they’re independent of the input signal
level; turning it anticlockwise blends the
original partial amplitudes with those of
the Safe Bass signal. Bass Lvl sets the
volume level of the Safe Bass signal, and
Slope extends its frequency spread.
9. Razor’s graphical
display
Razor’s graphical display
is hugely informative,
clearly showing the effect
that every tweak, twiddle and
modulation is having on the
frequency, amplitude and stereo
positioning of its 320 partials.
The text buttons below switch
the display between eight
sources, and with the Auto
button engaged, moving any
control instantly switches the
Graphical Display to show its host
section. Osc 1 and Osc 2 show the
partial spectrum of each
oscillator, while Filter 1 and 2
show the response curve of each
filter. Clipper shows the effect of
the Spectral Clip section on the
partials and the threshold curve
itself. Stereo shows the panning
of the partials, and Output shows
the final partial spectrum prior to
Dynamics processing. Scope
shows the audio waveforms for
the left and right channels at the
synth’s final output.
Switching to 3D mode causes
the partial displays to show realtime changes over a short period;
dragging within the display shifts
the 3D perspective. It’s ultimately
eye candy, however, and we
generally recommend turning it
off, since it can make it harder to
see what’s actually going on.
3D mode confusing you? Turn it off!
NEXT MONTH We take you on a tour of the deceptively deep Nexus2 from reFX
tutorials <
advice and videos from our computer music gurus
80
Easy Guide
Music theory
with Dave Clews
Learn how to add a second
voice to a melodic line in this
easy music theory tutorial
82
Designer Sounds
Sound design with
Charlie ‘Break’ Bierman
Advanced production
with Owen Palmer
Beat and drum design
with Ronan Macdonald
Transient
intricacy
Put the attack back into your
sounds with this in-depth look
at the science behind snapiness
86
Dr Beat
Synth
percussion
See hi-hat, woodblock and clap
sounds synthesised from scratch
in this sound design masterclass
84
Geek Technique
Two-part
harmony
Congas
and bongos
Learn how to program authentic
percussive parts with this lesson in
Latin from our resident beatsmith
March 2016 / COMPUTER MUSIC / 79
Dave Clews’
#36
Two-part harmony
Our in-house music theorist explains why, when it comes to
getting that perfect sound, two voices are better than one
Harmony is a wonderful thing, and there
aren’t many musical parts that can’t be
enhanced by the addition of at least one line
of it. Even at its most subtle placement in the
mix, to the point that you can hardly hear it,
harmony gives a sort of psychoacoustic
sweetening and thickening effect that the
average listener will enjoy – often without
being able to identify exactly what it is
they’re enjoying so much.
>Step by step
Here, I’ll be demonstrating how to create
effective harmonies with a single voice placed
on top of the melody; this is known as a two-part
harmony (even though one of the parts is really
the melody!). Because we’ll be concentrating on
using notes from the scale the melody is in, what
we’ll create is a two-part diatonic harmony.
Sounds technical, but it’s not too hard to figure
out as long as you have a rough idea of the key
of your song and the notes within the chords.
DOWNLOAD
Download the accompanying
video and the MIDI/audio files at
vault.computermusic.co.uk
You hear this kind of thing a lot in pop vocal
arrangements, but it’s relevant to instrumental
parts, too – it works particularly well on synth
lead lines or guitar solos, for example. The key to
success when using two-part harmony is to
work within both the key and the chords of the
song, so that whatever note you use for your
harmony complements the melody and fits with
the underlying chords. With all that in mind, let’s
take a closer look…
Creating a two-part harmony
TUTORIAL
FILES
1
Effective harmony writing depends on
knowing what key your song is in. To
illustrate the basic concept, let’s start by
looking at the winner of 2015’s Easiest Key
to Work With When Illustrating Music
Theory Concepts Award: C major. Here’s
the C major scale – eight white notes of
the piano keyboard, starting and ending
on the note C.
4
With the first note of our melody
being C, the harmony note a major
third above this would be an E – four
semitones above. So far, so good. It’s a
major third interval above the root note in
a major key, played over the root major
chord (C major, C-E-G) that includes this
same note as its middle note, so you’d
expect it to work, and it does. Sounds nice.
80 / COMPUTER MUSIC / March 2016
2
Here’s a simple melody using notes
taken from the scale. Before we create
a harmony to go with it, it’s useful to know
the chord progression that goes beneath
it, to make it easier to find harmony notes
that work. We’ll insert a simple C - F - C
progression, changing from C major to F
major on the downbeat of bar 2, then back
to C on the third beat of the bar.
5
What happens if we now follow this
line of logic and place a harmony note
a major third above each remaining note
in our melody? It sounds terrible. That’s
because we’re using a fixed interval for
the harmony, which is not only generating
notes that fall outside of the scale, but is
also failing to take into account the chord
change half way through.
3
Now it’s time to start harmonising –
adding a second line a few notes
higher or lower than the melody. One of
the most popular intervals to use for a
two-part harmony is a third above the
melody. So, as we’re working in a major
key, let’s use a major third interval as the
basis for our harmony – this consists of
two notes, four semitones apart.
6
To get a more pleasant sound, we can
use diatonic harmony, which means
only using notes from the key we’re
already in. We’re staying in the key of C
major, so we’ll need to adjust the notes of
our rigid, major third-derived harmony so
that they conform to the notes of the C
major scale. Voila! Suddenly it sounds
much better, except for…
easy guide / make music now <
RECOMMENDED LISTENING
JUSTIN BIEBER,
LOVE YOURSELF
This track features subtle threepart vocal harmonies in the
chorus, and the trumpet solo is a
great example of instrumental
two-part harmony.
bit.ly/JBloveyourself
TAYLOR SWIFT,
BLANK SPACE
The vocal in this track makes fine
use of two-part harmony
throughout – pay particular
attention to the harmonies from
the first chorus onwards.
bit.ly/TSblankspace
7
…that fourth note, which, after the
original transposition of a major third,
has now become a B. Played over a C
major chord, this effectively makes a
Cmaj7 chord (C-E-G-B), which isn’t quite
the mood we’re going for in this context.
Nudging it up a semitone to the high C
note re-establishes our major triad feel
and is more what we’re after.
Because we’re in a minor key here,
we’re going to base our harmony on
an interval of a minor third (three
semitones) above the melody. We’ll use
the same method as before – copy and
transpose the melody up three semitones,
then nudge any incorrect notes around to
fit the parent scale and/or chords.
10
Dave Clews
PRO TIPS
In a studio career
spanning almost 25
years, Dave has
engineered,
programmed and
played keyboards on
records for a string of
artists including
George Michael, Kylie
Minogue, Tina Turner
and Estelle. These
days, in between writing articles
for
and other magazines, he
collaborates on occasional songs
and videos with singer/songwriter
Lucy Hirst, aka Polkadothaze.
www.daveclews.com
COMPUTER-ASSISTED HARMONIES
When working out a harmony for vocalists to sing, try
feeding your melody through a harmony generator
plugin such as zplane’s vielklang 2 CM. Use the plugin
to generate the required harmony part, tweaking it if
necessary until you’re happy with the result, then
record its output and mute the melody. Now you can
loop the harmony up in solo and have the vocalist learn
it by singing along.
A THIRD ABOVE
The reason why the third above is the most popular
harmony choice is that most Western harmonies are
built on stacks of thirds. When harmonising a major
scale, for instance, you do it by stacking up notes in
intervals of thirds to make three-note chords. It’s also
the interval that occurs most instinctively to most
vocalists whenever they’re asked to harmonise a
melody, so it’ll almost always work.
8
Now let’s try a minor progression in
the key of D minor. We’ve got the
chords Dm, B , G and B here. Notice that
the G major is not diatonic to the key of D
minor (G minor would be the diatonic G
chord in this case), so what we have here
is a borrowed chord (see
214’s Easy
Guide) taken from the parallel key of D
major, in which G major is the IV chord.
11
The first candidate for our attention is
the third note, which has been
transposed from C up to E . We could
nudge it down a semitone to D, but that
would bring it too close to our melody
note of C, so instead we’ll go up to E,
which works much better. The same thing
goes for the G in bar 2, which we adjust
up to an A.
NEXT MONTH Dave ventures out into the swamp in search of some blues theory
9
Here’s the melody I’ve come up with,
using the notes D, C, A, G and F. The D
natural minor scale uses the notes D, E, F,
G, A, B and C, so our melody qualifies as
diatonic, since all its notes are found in the
parent scale of D minor. Finding a
harmony a third above it should be a fairly
simple task, except that we need to keep
an eye on that borrowed G major chord.
12
Let’s look at what’s happening over
that borrowed G major chord in bar 3.
The melody plays a D over this, and the
minor third transposition that created the
harmony has resulted in an F, which
actually sounds pretty good. Another
option we have is to strengthen the chord
by shifting the harmony note to the root of
the chord: G. Either way works well.
March 2016 / COMPUTER MUSIC / 81
Designer
sounds
with Break
#20
Synth percussion
Break rolls out some top-end to help keep a track’s
pace and feel, using Synapse Audio’s Dune 2 synth
Synth drums have been a big part of music
for quite a few years, and there are many
different approaches for creating them.
Synthesising drums or percussion can be
quite time consuming and fiddly when you
start from scratch, so I often choose to use
ready-made patches in drum machines.
Despite this, the flexibility that comes from
creating your own can be really beneficial when
producing a track, as each element can be
>Step by step
controlled exactly as you wish. I’ve always found
I’m more likely to use things I’ve made myself in
one of my own tracks, as the satisfaction factor
is higher than just loading up a pre-made kit.
Synapse Audio’s Dune 2 is a really quick and
intuitive synth for patch design – the output of
the synth is far from the thin and digital sounds
you get with some software synths. Once you
add some analogue-sounding plugins, such as
tape, drive, compression and EQ to the
DOWNLOAD
Get the video and audio
examples on your PC/Mac at
vault.computermusic.co.uk
individual channels and the drum bus, the
synthesised percussion we’re about to make can
really start sounding like a high-quality
outboard drum machine.
In this tutorial, I’ve focused on percussion
that works well as a loop to layer with a dance
beat. The great thing about using a synth in this
scenario is that tweaking a few parameters can
vastly change the character of the sounds, so
creative ideas can happen really fast.
Creating synthesised percussive top-lines using Dune 2
TUTORIAL
FILES
1
I’ll start with the hi-hat, so load up a
Dune 2 synth and select the Init patch
(Patch » Initialise Patch). In the Osc
Mixer, turn all the oscillators down and the
Noise up to full. In the noise section (in the
oscillators’ 3/N page), turn the LP filter
down to 15220Hz to slightly remove the
ultra-top-end high frequencies. I’m adding
a bit of stereo Width too – 40%.
4
Next comes an EQ boost at 3kHz, then
the compressor, which gives about
2dB of gain reduction with fairly fast
Attack and Release times. I’ve blended in
some of the dry signal, too. The Air mode
seems to give more detail and clarity for
the hi-hat, and having the compressor
after the reverb brings the reverb tail up
and glues the whole chain together.
82 / COMPUTER MUSIC / March 2016
2
5
Next to shape the Amp Envelope. Set
Attack to 23% and Decay to 38%, with
Sustain and Release both at 0. Play notes
on the keyboard while editing to hear the
sound take shape. Next, set the Filter
Type to CL Highpass 4p, and set the
Cutoff to 55% to remove the lowfrequency noise. Set the filter’s Drive to
47% for some extra crunch.
Next, I program in some MIDI notes to
hear the hi-hat in the context of a loop.
By varying velocities, you can see how
dynamic the sound can be. In the Dune 2
Settings page there’s a Velocity Section –
I’ve set the Volume parameter to 100%,
with the Velocity Curve set to -38, which
gives some more variation in the playback
of the notes.
3
Now for effects – click FX Bus 1. I’m
using Distortion, Reverb, EQ and
Compressor, in that order. I’ve used the
Hard Clip setting in the distortion module,
with a little Drive and a Wet/Dry of 50%,
which dulls the extreme high frequencies
and adds some body. For the Reverb, I’ve
used the Ambience setting with low Time
and Wet/Dry settings for subtle space.
6
I’m adding a kick drum to a new
channel now to use as a sidechain
input – I’ve programmed a simple four-tothe-floor pattern. Add a compressor to the
hi-hat channel and use the kick to pump
it via the sidechain. Here I’m using
Softube’s emulation of the Valley People
Dyna-mite compressor.
designer sounds / make music now <
Break
RECOMMENDED LISTENING
PLASTIKMAN, SPASTIK
MAKE A CHANGE
This whole track is just synth
drums and percussion, made
in 1993! It’s amazing how the
programming and effects of
the percussion keeps the
track rolling for eight minutes.
One of the best things about making synthesised
drums is that any parameter can be changed quickly
using your DAW’s automation. Try automation of
pitching or filtering for use in build-ups, reverb during
edits, or changing envelopes on different hits – it can all
be drawn alongside your MIDI notes, making for a
more interesting listening experience.
bit.ly/PlastikmanSpastik
Touted as ‘the DnB
producer’s DnB
producer’, Break – aka
Charlie Bierman – has a
discography that’s
seen him sign tracks
to the likes of
Metalheadz, RAM,
Critical and Shogun, as
well as his own imprint,
Symmetry. His latest
album, Simpler Times, has just
been released to rave reviews
after smashing up festivals and
clubs this summer.
www.symmetryrecordings.co.uk
PRO TIPS
GOT IT ALL WORKED OUT
KRAFTWERK,
TECHNO POP
This track from the synth
masters has really interesting
drums, showing great use
of creative panning, pitching
and reverb.
bit.ly/KraftTechnoPop
7
Now to make a clap for the beat.
Initialise another Dune 2, and turn all
the Oscillators’ levels down. In the Noise
page (3/N), set LP to 1205Hz, HP to
2081Hz, and the Width to full. Let’s make
some mod assignments in the matrix: set
MSEG1 to modulate the Noise Volume by
+100, and MSEG2 to modulate the Noise
Volume (again) by +25, as above.
The FX Bus 1 section gets Distortion,
EQ, Reverb then Compression. I’m
using the Hard Clip distortion mode again
to control peaks, and a big 11dB boost on
the EQ at 10kHz for some brightness. The
Plate Reverb set at 0.4s with some predelay brings the dead-sounding clap to
life, and the Vintage compressor is set
with a very fast attack and slow release.
10
Getting the timing right can take your tune to the next
level, making things like drum decay, sidechain release
and reverb pre-delay more musical. There are many
BPM calculators available online, or you can do it the
hard way: divide 60 by your BPM to get the number of
seconds one beat takes (0.5 seconds at 120bpm), then
divide this in half a couple of times to find some
‘musically logical’ values (250ms, 125ms and 62ms).
Another example? OK, 140bpm: 60/140 = 429ms;
divided by two is 214ms… 107ms… 54ms…
8
Edit MSEG 1, drawing in four spikes,
creating sharp lines as above, between
0 and 0.1s. Each spike acts as a synthetic
clap in the way that four people clapping at
once would create four transients close
together. The last spike should have a
longer tail, reaching out to 0.4s. You can
change the curve shape of a segment by
clicking and dragging.
11
Now for a woodblock sound to finish
the groove off. On another Dune 2, set
Oscillator 1’s type to WT, and select the
Transients Wavetable with Waveform 22.
A Density of 32 gives us 32 voices, and
Oscillator Reset makes them all start at
the same time for a punchy start to each
note. Turn the Amp Envelope’s Sustain
level to 0% and its Decay to 20%.
9
On the MSEG 2 edit page, I create the
above shape from three nodes, with a
tail of 0.8 seconds. This helps fill out the
body of the synth clap noise layer. For the
main filter, I set a CL Bandpass2p with the
Cutoff at 67% and Resonance at 35%. The
filter Drive is set to 100%. I’ve also set the
Unison Voices Amount to 5, helping
thicken up the clap.
12
Now activate FX Bus 1’s Distortion on
Overdrive mode and leave it as is,
then activate the Reverb, turning its Time
to 1.3s and its Wet/Dry to 20%. I’ve
cranked up the master Volume of this
Dune 2 to 70% and then drawn a few MIDI
notes into the arrangement for a
woodblock rhythm to finish off the
percussion loop.
March 2016 / COMPUTER MUSIC / 83
Geek
Technique
with Owen Palmer
#17
Transient intricacy
This month our resident expert shows you how to keep your
attack transients tight for a clear and well-defined mix
First impressions are important, but
human perception is a wonderfully
complex and often mysterious thing. We
think we know what we’re experiencing, but
in reality we’re just trying to make the most of
whatever information we have, and even that
information is selectively filtered by our
subconscious minds. As such, details we
might consciously deem as trivial can turn
out to be critical components of perception.
>Step by step
Ever tried to tell sliced apples from sliced
potatoes when you’re blindfolded and your nose
is pegged? Without their respective scents and
visual clues, it’s more difficult than you might
think! Similarly, in musical instruments, the
initial attack transients are often overlooked as
an indication of quality and character. Although
almost instantaneously quick, attack transients
deliver those all-important unconscious first
impressions – ignoring them can leave a mix
DOWNLOAD
See the video and get the audio
demos on your PC/Mac at:
vault.computermusic.co.uk
feeling jumbled and incomplete. EQ alone can’t
solve problems with transients, as it’s a static
process (meaning that it doesn’t respond to
transients; it’s simply applied to the entire signal,
indiscriminately). A good compressor can often
help, but compression alone doesn’t always
offer sufficient control over transients. Good
transients should at least cut through a mix, and
the perfect transient will be clear without
sounding uncomfortably sharp.
Separating transients from tails to gain extra control
TUTORIAL
FILES
1
4
In this tutorial we’ll take a really close
look at transients, exploring the
various attributes that contribute to
making them perfectly suit whichever
type of music you’re into. This may seem
an oddly specific goal, but unkempt
transients can really let a mix down,
whereas refined transients can help to
make it shine.
Since transients signify the initiation of
a sound, we generally expect them to
emanate from a well-defined location. Let’s
make incisions in the sides signal and use
fades to smooth the transients.
Interestingly, the stereo illusion works
much better without sharp transients in
the sides component.
84 / COMPUTER MUSIC / March 2016
2
Super-sharp, ultra-wide stereo
transients can be problematic, as we’ll
see in the following steps. Among this
month’s Tutorial Files you’ll find
TransLoop1M.wav and TransLoop1S.wav
– these are the separated mid and sides
components of a single loop that should
be played simultaneously to make up the
full stereo image.
5
Let’s add a kick and snare to the mix
(TransLoop2.wav). The transients are
mono, so there’s no issue there, but the
hits aren’t slicing through the mix enough.
We need to separate the transients from
the tails, so that we can process them
separately. It’s impractical to do this for
every sound in the mix, but the kick and
snare are high-priority elements here.
3
The issue is that the loop is putting out
information that our brains find
conflicting. The clear transients in the mid
component of the signal make for sharp,
well-defined starting points on each hit,
but the clear transients in the sides
component confuse the position of the
loop’s source in the stereo field. Our ears
can’t locate the sound.
6
To separate the transients, simply cut
them off and move them to separate
channels. If you’re not sure where to make
the cuts, zoom in. The transient part of the
waveform is slightly rougher than the
main body of the sound. Snap your cut to
the first zero-crossing after the roughness.
geek technique / make music now <
Owen Palmer
PRO TIPS
RETURN OF THE TRANSIENTS
HEAVY-HANDED
When an instrument with very prominent transients
goes through a reverb send, those transients usually
dictate a lot of the returned reverb character. This is
because transients are typically louder and/or have a
broader frequency range than the body or tail of a
sound (particularly with acoustic instruments, but
very often synth parts too). If you’re savvy, you might
use an dedicated reverb send for important
instruments so that you can insert a transient shaper
before the reverb plugin. This enables you to either
raise transients for a more broad, washy reverb
sound, or soften them for cleaner reverb tails that
correlate more with the sustain character of the
source instrument. I’d warn you, though, to make sure
you’re happy with the tone of the dry instrument
before messing with transients on the send, or you
could end up with severe workflow challenges.
Don’t take this out of context, but I reckon transients
love to be man-handled. They’re delicate in the sense
that it doesn’t take much to potentially ruin them, but
from another perspective, you may feel the need to
(lovingly) force them into submission, as I do with the EQ
and limiting technique below. For cleaner mixes, or
transients that are already very close to where you want
them, you’ll find that some gentle saturation is
supremely effective. If you’ve beheaded (separated)
transients from their instrument bodies, it’s still wise to
EQ pre-saturation. Pay careful attention to frequencies
above about 10-12kHz, because they seldom sound
good when loud and sustained – if they’re present at all,
make sure they’re at least a little quieter than the rest of
the frequencies. One of my favourite tricks is to use
multiband compression to ensure transients have
appropriate punch in each frequency band.
7
Put a limiter or any other plugin that
prevents digital overshoots on each
transient channel. Insert a parametric EQ
before the limiter on each channel, and
stick a frequency analyser after each
limiter. We’re using Voxengo’s free SPAN
with 4096 Block Size, no Smoothing,
zero Slope, and minimum Overlap and
Avg Time values.
Now that the kick and snare transients
are well polished, we need to avoid
other transients in the mix clashing with
them and undermining our hard work.
TransLoop3.wav contains layers for the
kicks and snares, introducing
simultaneous transients – exactly what we
don’t want! Remove the transients from
the layers, fading in their tails.
10
8
The idea is to smooth the frequency
response of the transients with the EQ
so that they’re nice and full. This approach
to EQing doesn’t apply to the kick or snare
if you haven’t first isolated the transients,
because then you can’t get a view of the
transients’ frequency spread. Also, EQ
curves that might work for the transients
would likely destroy the tails.
11
Create a buss for everything in the mix
apart from the kick and snare
channels, but include all send effects. Now
you can trigger Xfer Records’ LFOtool via
MIDI, following the rhythm of the kick and
snare like a sidechain compressor, but
much faster – hopefully fast enough that
listener doesn’t consciously hear the brief
silences that the plugin introduces.
NEXT MONTH Owen broadens the horizons of reverb processing
As an in-demand
dance music engineer,
Owen’s worked with a
slew of outstanding
underground artists
behind the scenes
from his London
studio. After years of
meticulously studying
what makes a great
production tick, Owen
has promised to share his most
advanced and coveted techniques
each month exclusively in
. Get
in touch with Owen about this
month’s subject at…
www.owenthegeek.com/cm
9
EQ will cause the transients to overlap
the tails, because all EQs introduce
phase changes. You have three options:
take no further action, if it sounds good;
render the EQed transients and chop them
to where the tails start; or put fades on the
tails to make more room for the transients
– which is also a sneaky trick for increasing
transient definition!
12
Let’s check the whole mix before and
after. With all our enhancements
active, it feels a lot tighter and better
defined. As a bonus, we may even be able
to squeeze a little bit more volume out of
the overall mix without smashing the
transients too hard. Make sure you check
out my Pro Tips above for further insights
into handling transients.
March 2016 / COMPUTER MUSIC / 85
Dr
Beat
with Ronan Macdonald
#14
Congas and bongos
Our physician of phunk puts skin to skin
Ronan Macdonald
Having
previously
served as Editor
of drummer’s
bible Rhythm as
well as
Computer
Music, Ronan is
clearly the right
man for this
particular gig. He’s been playing drums
for over 30 years and making music
with computers since the 90s.
>Step by step
Continuing our surface exploration of the
Latin percussion family, we come to its two
most technical and tonally nuanced members:
congas and bongos.
The congas are a set of one to four long, flooror stand-mounted (depending on whether the
conguero is sitting or standing) drums made
from staves of wood, like barrels, or fibreglass,
giving a louder, brighter sound. From lowest to
highest, they’re named tumba, conga, quinto
and requinto. The conga is used for the solo
option; conga and quinto for a two-drum setup;
and tumba, conga and quinto for the three-drum
rig, which is as far as I’ll be going for the
purposes of this tutorial.
DOWNLOAD
See it in video and get the
tutorial files on your PC/Mac at
vault.computermusic.co.uk
The bongos are a pair of far smaller stave- or
solid-constructed drums – the little one called
macho, the larger one hembra – again available
in wood and fibreglass, and mounted on a stand
or held between the knees. Generally speaking,
the congas are meant to play a relatively
constant and underpinning role, whereas the
bongos can be more frenetic and ‘lyrical’.
In this tutorial, I’ll show you the basic conga
and bongo patterns and demonstrate their
practical application alongside acoustic and
electronic drum parts. I’m going to be using
Ableton Live’s Latin Percussion Live Pack, since
it features a pretty good range of conga and
bongo articulations.
Programming a basic Latin rhythm with congas and bongos
TUTORIAL
FILES
1
Here’s the rhythm that serves as the
foundation of the majority of conga
(and bass) patterns in Latin dance music:
‘tumbao’, played on a single drum (the
conga). It comprises a very specific series
of 16 strokes, involving the heel and
fingertips of the left hand, combined with
open strokes and slaps in the right hand.
4
The foundation bongo pattern in Latin
dance music consists of this eightstroke sequence, played almost entirely
on the smaller bongo, the macho: slap,
fingers, open, thumb, slap, fingers, open
(hembra), thumb. Live’s bongo patch
doesn’t feature a thumb stroke, so I’m
using its Heel articulation instead.
86 / COMPUTER MUSIC / March 2016
2
Let’s bring in a second drum: the
bigger, lower-pitched tumba. All I have
to do is move a few notes over from the
conga to the tumba to change the rhythm
up significantly. I’ve also thrown in a little
triplet fill at the end, being careful to keep
the articulations sounding authentic –
triplets are very important in Latin music.
5
Here’s a rather more developed bongo
pattern, involving accented hits
(called repique) and ‘rolled’ multi-finger
hits, which are helpfully supplied in Live as
separate articulations. Check it out more
full in the video tutorial. Never forget the
importance of leaving spaces in the
groove, enabling it to breathe.
3
Two congas are often enough, but if
you’re feeling confident with your
programming, you can always add the
quinto for a third, higher-frequency voice.
You can also hear some flams (closely
played pairs of hits) at the end of my
pattern. See it all in more detail in the
video version of the tutorial!
6
Many congueros mount a pair of
bongos over the top of their congas.
To maintain that authentic feel when
programming conga/bongo combos,
remember that they’re being played by
one pair of hands, so think of them as a
single set of five drums rather than one
set of two and another set of three.
NEXT MONTH Ronan shows us how to wield virtual claves and timbales
© Timothy Saccenti
88 / COMPUTER MUSIC / March 2016
a-trak / interview <
A-TRAK
The former DMC Champion
and Kanye West’s DJ of choice
reveals how remixing and Logic
helped him find his own sound
“Like a lot of young kids, I fell in love with
music,” explains Montreal-born DJ and
producer Alain Macklovitch, better known as
A-Trak. “But whereas most of my friends
chose the guitar or the drums, I chose the
turntable. Scratching was going to be my
musical weapon.”
By all accounts, he made the right choice. In
1997, aged just 15, Macklovitch became the
youngest-ever Technics/DMC World Champion,
feted by legendary turntable names who were
literally old enough to be his father. (You
can check out that DMC-winning set at
bit.ly/AtrakDMC; even after almost 20 years,
it’s still jaw-droppingly awesome.)
For a few years, Macklovitch doggedly stuck
to the Technics, winning virtually every
competition that he entered and scratching for
emerging DJ software names like Serato. But
with the encouragement of his brother, David –
one-half of Canadian funksters Chromeo – he
began drifting into the world of beats, remixes
and then full-on production. His current CV is
seriously impressive, boasting everyone from
Dillon Francis and Dizzee Rascal to Armand Van
Helden and Kanye West – the latter even invited
A-Trak to be his tour DJ.
His latest single, We All Fall Down – released
at the end of last year and featuring a soulful
vocal from Jamie Lidell – surprised some with its
bouncing, Calvin Harris-esque hooks, but
Macklovitch makes no apologies for dabbling in
different genres.
“When I first started out, I called myself a
turntablist, and all I had to work with was vinyl
and turntables,” he recalls. “Eventually, I realised
that if I wanted to push my sound, I had to
change the way I worked. And y’know
something? I’m OK with that. That’s progress.”
Computer Music: What was it about
scratching that got you so excited?
Alain Macklovitch: “At the time, I was heavily
into hip-hop, listening to artists like the Beastie
Boys, DJ Shadow and Qbert. Scratching was the
guitar solo of the world I was living in. Some kids
get off on a screaming Les Paul and a Marshall
stack, but I was transfixed by the crazy sound of
the turntable. I would listen to something by
Qbert and think, ‘How the hell did he do that?’
Some of the stuff he was doing didn’t even
sound humanly possible!
“When I heard that it was just vinyl and a
turntable, I rushed straight back to my parents’
house and started ‘scratching’ on my dad’s
record player. I guess most hip-hop kids have a
go at scratching at some point in their lives, but
when they can’t make it sound like DJ Hurricane,
they just give up.
“God knows how, but the first time I tried it, I
was… OK. It kinda sounded like I wanted it to
sound. It sounded a little bit like it did on a
record. So, for the next few months, I annoyed
the hell out of my family and ruined most of my
dad’s record collection. Eventually, I got a
second-hand 1200 and spent every spare
moment practicing. Sure, I started winning a few
competitions, but I didn’t actually think I was
that good.”
: You became DMC Champion at 15 and
didn’t think you were ‘that good’?
AM: “OK, winning the DMC was a step up, but I
just thought there was going to be a kid like me
in every city in every country, all over the world.
March 2016 / COMPUTER MUSIC / 89
> interview / a-trak
: Was it all about hardware back then? No
computer, no MIDI, no software?
AM: “Yeah, it was all Technics, Gemini and
Vestax mixers, and a big bag of vinyl. But I was
actually involved with the software side of
things quite early. After the DMC win, I got flown
out to the NAMM show every year by one of the
companies that sponsored me, and I got to hear
about programs like Serato and Final Scratch
way before they hit the streets.
“My friend DJ Craze had been part of the Final
Scratch development team and I also met the
guys from Serato, back when it was just a demo
plugin for Pro Tools. I had a mess around with it
and their package seemed much more solid
compared to Final Scratch. We stayed in touch
A-Trak grew up in the days of
hardware and vinyl, but soon
realised the potential of
electronic production
90 / COMPUTER MUSIC / March 2016
“Pro Tools allowed me to grab the best four or
eight bars of a kick drum track instead of
having to do the whole thing by hand”
and I became a beta tester for them, right up
until the actual release of Scratch Live.”
: Did the software side of DJing
immediately make sense to you?
AM: “[Laughs] Not at all. For anyone of my
generation, it was all about hardware and vinyl.
Software flipped everything on its head and, for
a while, it was too much for me to take in.
“But the thing you’ve got to remember is that
a bag of vinyl weighs a hell of a lot, and DJs
began to realise, ‘Hey, with Serato, we don’t have
to limit ourselves to the vinyl we can carry.’ You
ask any DJ and they will have a horror story
about travelling with vinyl. You struggle through
© Steve Garfinkel
“It was around that time that I met Qbert and, of
course, I was totally excited about meeting one
of my heroes. He asked if he could film me for
this thing he used to do called Turntable TV, and
I was so confused because I couldn’t work out
why the hell this legend would want to film me. I
was just a kid from Montreal.”
the airport, you check it in, you hope to God they
don’t lose it, you have a heart attack when your
vinyl ends up in LA and you’re in Amsterdam.
“This was also the start of the age of the
mash-up, so every DJ was hungry for more
music – music that could be transferred and
traded while you were on the road. The
combination of these factors, plus the technical
aspects of Serato, meant that there was a subtle
but definite shift within DJ culture… a shift
towards software.”
: To the point where you started to
investigate DAWs?
AM: “Actually, I’d already got Pro Tools and I’d
had a bit of experience with Cakewalk. If we
rewind to just after I won the DMC
Championship, my brother – way before
Chromeo – was working as a hip-hop producer
with local bands. His setup was the family PC,
Cakewalk and an S950. Both of us were working
in the basement of our parents’ house, and we
naturally began to swap knowledge and ideas. I
would look over his shoulder and, almost by
osmosis, I started to learn about producing.
“At the time, I was making a few beats of my
own, but I was literally scratch-producing four
minutes of music by hand. I’d grab a kick drum
and scratch it for four minutes, a snare, hats, a
couple of bass notes and an interesting lead
line… all scratched from my record collection,
layered and mixed on a Tascam multitrack. I
loved the actual live feel of the beats I was
making, but it was driving me crazy. Four
minutes of kick drums, right on the beat, is not
an easy task.
“Pro Tools had a great reputation for handling
audio, so that’s the platform I was looking at.
Unfortunately, Pro Tools was way out of my
price range back then – it was the kind of thing
you only found in expensive professional
studios. Then I heard about Pro Tools LE and,
suddenly, it became affordable for people like
me. Sure, $1500 was still a lot of money back
then, but I was gigging and making decent
money, so I jumped in.
“I was still scratching, still practicing my art,
but Pro Tools allowed me to grab the best four
or eight bars of a kick drum track instead of
having to do the whole thing by hand. DJ
Shadow was working in the same way, but he
was on the MPC.
“Then there was the whole thing of
portability. If I was making music with vinyl and
decks, it meant I could only make music when I
was at home, sitting in the basement. If my
setup was in the laptop, I was free to make music
pretty much anywhere.”
: But all the music you made was sample/
scratch-based? No synths or drum machines?
AM: “Although there were plugins available for
Pro Tools and I did actually try a couple of them,
they caused all sorts of CPU and freeze
problems. At first I wasn’t too bothered, but I was
beginning to take a passing interest in other
© Steve Garfinkel
a-trak / interview <
These days, A-Trak’s live
setup is a relatively
stripped-down affair
forms of electronic music, not just hip-hop. I
wanted to experiment with different sounds and
tempos. No one wants to make the exact same
song for the rest of their life… that just doesn’t
make sense!
“By 2003, I was beginning to listen to some of
the French stuff like Daft Punk, the Ed Banger
label and Simian Mobile Disco from the UK.
These guys were making club tracks, but they
still seemed to have the grit and the feel of a
hip-hop record.
“At first, I started investigating an early
version of Reason, because that gave me
immediate access to synths. With Reason, I
could create my distorted basslines, but
somebody showed me Ableton Live, and I found
that it was easier to program in Ableton than it
was in Reason. Not to mention the fact that you
could record audio in Ableton.
“So, there I am, using Reason for synths, but
ReWiring that to Ableton for programming and
audio. When it came to mixing down, I knew Pro
Tools better than both of the other programs, so
I bounced the track over and mixed it there.”
: You were certainly getting your money’s
worth out of each program!
“I didn’t feel
comfortable enough
to put everything in
the hands of just
one program”
AM: “Yeah, the whole thing was way too
complicated, but the truth was that I didn’t feel
comfortable enough to put everything in the
hands of just one program. And the results I was
getting were… pretty good. As a producer, I was
still learning my way around, and my technique
wasn’t too heavy-handed.
“If you look at the average club track today,
you’ve got so many synth sounds and so much
music fighting for space that you really have to
work hard at getting a mix right. But I came from
the hip-hop school of production, where things
are a lot simpler. The beat sounds too dry? Let’s
add little reverb. There’s not enough top end?
Let’s tweak the EQ.
“The guy who taught me to get a little more
adventurous was XXXChange [aka Alex Epton,
originally one half of Spank Rock]. He would
craft all these bizarre sounds, recording street
noise and sending it through a Roland Space
Echo. He showed me that effects could be used
to create their own sound – you don’t just use a
delay on vocals.
“And he was also using Logic, which seemed
to answer all those questions I’d been asking
myself in the studio. Here was a program that
was powerful, it had great effects, great synths,
you could record audio, and it didn’t cause your
computer to crash every two minutes. I
switched over to Logic around version 7 and
stayed with that until last year, when I finally
moved to Ableton.”
: You were using Ableton way before you
used Logic. How come you never made it
your main DAW?
AM: “At first, you’ve got to remember that
Ableton was a live tool, and that’s what I used it
for – it was great for mash-ups. Obviously, as
time went on, more and more people were using
A-Trak’s current applications of choice include Vember
Audio’s Surge synth and DJing software by Serato
Kit list
HARDWARE
Technics SL-1200MK3D
SOFTWARE
Apple Logic Pro 9
Serato Scratch Live
Waves Gold Bundle
iZotope Ozone 6
Native Instruments Kontakt 5
Native Instruments Massive
LennarDigital Sylenth1
Xfer Records Serum
Spectrasonics Omnisphere
Vember Audio Surge
u-he Diva
March 2016 / COMPUTER MUSIC / 91
> interview / a-trak
A history of A-Trak… live
but it didn’t work as well as I’d hoped. It was
great for mash-ups, though!
“These days, it’s just me with a couple of
turntables, Serato and a bunch of visuals.
That might not sound like a ‘live’ show
to some people, but I can guarantee
you that it’s far more ‘live’ than
some guy firing off 24 loops from
Ableton and adjusting the
occasional fader. What I do
differs every night… it’s me,
live on those turntables,
utilising the skills I’ve learned
over the last 20 years.”
© Grady Brannan
“My first gigs were turntable gigs. I didn’t
even call them DJ gigs because I wasn’t
mixing a bunch of tunes; I was scratching. I
suppose it was like a kid learning jazz
guitar, building up a bunch of licks and
tricks that would become my musical
vocabulary. It took about two or three years
before I did what you’d call a DJ set, but that
soon became a new passion in its own
right… just being exposed to so much
different music.
“In terms of a live show, I started
experimenting with Ableton, Serato and a
couple of MIDI footswitches in about 2005,
Ableton in the studio – I looked at some of the
stuff Skrillex was doing and the workflow was so
quick – but I was never completely happy with
the sound of Ableton until version 9.
“I still have Logic and I’m still a fan, but there’s
something about the way you can throw things
together in Ableton that makes everything so
much quicker, fresher and more enjoyable.”
: At the same time as you were making
your name, your brother Dave was helping
turn Chromeo into one of Canada’s most
successful electronic acts. Is it natural for two
brothers to exchange ideas in the studio?
AM: “A lot of my early productions were
remixes, and Dave was great at listening to
something and immediately spotting what was
wrong: the kick’s too loud, there’s not enough
bass, that bit’s too long… he’s got a great ear.”
: There was a point where you were
knocking out seven or eight remixes a year.
AM: “Some people do a remix and they do the
same thing over and over. I’m not saying that’s a
“Man, I even came up
with a type of musical
notation that could
be used to transcribe
scratching!”
92 / COMPUTER MUSIC / March 2016
bad thing, because some record companies will
go to a certain artist for precisely that reason.
My approach was different, though – every
remix for me was a totally new song. I remember
doing a remix for Robyn [2010’s Indestructible],
and wondering if I could turn the song’s Abbastyle disco strings into a dirty, LCD Soundsystem
post-punk, post-disco thing.
“When I was asked to remix Kanye West’s
Stronger, I wanted to take the Daft Punk
vocoder section and really glitch it up. I started
to break the whole thing down and began
pitching and playing with individual syllables.
Some people might only get that deep into a
production for one of their own songs, but I felt
like I was finding my sound by working on other
people’s music. I learned how to produce my
own music by remixing.”
immersed in that scene. Man, I even came up
with a type of musical notation that could be
used to transcribe scratching! But I don’t regret
a single moment of the time and the
commitment that I gave to the turntable,
because it’s what got me where I am today.”
A-Trak’s We All Fall Down Remixes EP – featuring
remixes by Stfu, Jaykode, Cory Enemy & Syre,
Dombresky, Willy Joy and Esquire – is out now.
www.foolsgoldrecs.com
HEAR MORE
: Which handily brings us to the recent
release with Jamie Lidell, We All Fall Down.
Are there always going to be A-Trak fans who
want you to make dark, minimalist cut ’n’
paste tunes like, say, Enter Ralph Wiggum?
AM: “Probably, but that was nearly 20 years ago.
Electronic music has moved on a lot since then,
technology has moved on a lot since then, the
whole scene in the US has shifted on its axis…
and I’ve heard a lot of different music in those 20
years. Things change. What more can I say?”
We All Fall Down
bit.ly/atrakWAFD
Push (ft. Andrew Wyatt)
bit.ly/atrakPush
WWW
: How’s your scratching these days?
AM: “My hands were probably a bit nimbler
when I was 15, but these days I see turntablism
as just one tool that I can use, alongside Massive
and Sylenth and Battery. In the beginning, it was
the only tool because my entire life was
atrak.com
soundcloud.com/a-trak
twitter.com/atrak
www.facebook.com/atrak
reviews <
The latest computer music gear tested and rated!
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We bring you honest, unbiased
appraisals of the latest computer
music products. Our experts apply
the same stringent testing methods
to all gear, no matter how much
hype or expectation surrounds it.
What the
ratings mean
1-4 A seriously flawed product
that should be avoided
96 IZOTOPE OZONE 7
What more could you possibly add to
this huge in-the-box mastering
package? Find out over the page
98
MeldaProduction
MXXX
5
This product’s problems
outweigh its merits
6
A decent product that’s only
held back by a few flaws
7
Solid. Well worth considering
8
Very good. A well-conceived
and executed product
9
Excellent. First-rate and
among the best you can buy
10
Exceptional. It just doesn’t get
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See and hear the latest
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Wherever you see the icon, head
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youtube.com/computermusicmag
VIDEO
MINUTES
WITH…
100
UVI
Falcon
102
Soundtoys
Soundtoys 5
104
LSR Audio
VLB 902 De-esser
106
kiloHearts
Multipass
108
LiquidSonics
Reverberate 2
110
XLN Audio
DS-10 Drum Shaper
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A product has to really
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receive this gong
112
Mini Reviews
In the opinion of the
Editor, the best product
reviewed in the
magazine this month
March 2016 / COMPUTER MUSIC / 95
> reviews / izotope ozone 7
FILE/EDIT
Import WAV, AIFF, MP3
and FLAC, pick your
audio driver and set
myriad preferences
TRANSPORT CONTROLS
Includes precise playback position
and total running time of all
imported audio files
MAIN WINDOW
Edit the selected module
here, with detailed visual
feedback for most of them
METERS
Set and
compare input/
output levels
with accurate
RMS and peak
monitoring
WAVEFORM VIEW
Navigate playback of
up to 16 imported
audio files with the
cursor, and create
fade-ins/outs
AUDITIONING
Bypass with
optional loudness
compensation,
check your master
in mono and apply
MBIT+ dither
MODULE SLOTS
Load up to six
freely
rearrangeable
modules, including
third-party plugins
VIDEO
PRESETS
Presets for specific mastering/
mixing tasks to get you started
MINUTES
…
2 WITH
HISTORY/SETTINGS/HELPS
Compare A/B/C/D settings, view
undo history, configure Ozone and
open the PDF manual
E
E
iZotope
Ozone 7
£169/395
The busy bees from Boston are back again with yet another edition of
their flagship mastering powerhouse, packed with exciting new features
Ozone is iZotope’s acclaimed all-in-one
mastering system, intended to provide all the
tools you need to produce professional-quality
masters, with dedicated modules covering
everything from EQ and dynamics to limiting
and stereo image processing. Like version 6
(10/10,
212), Ozone 7 lets you construct a
mastering chain of up to six modules and comes
in standalone and plugin formats (VST/VST3/
AAX/AU). For an extra £170, you can step up to
Ozone 7 Advanced, which boasts three more
modules, iZotope’s Insight Metering plugin
(8/10,
190), ten of Ozone 7’s modules in
individual plugin form, and the new Codec
Preview feature (see Cracking the Codec).
Key elements carried over from previous
versions include the Maximizer module, with
iZotope’s proprietary Intelligent Release Control
(IRC); the Imager four-band stereo image
adjuster; the four-band harmonic Exciter;
parallel/multiband compression with adjustable
96 / COMPUTER MUSIC / March 2016
detection filters; and analogue and digital EQ
modes, with fully adjustable phase response (all
the way up to linear phase) and Match EQ mode
for the latter. Useful general features include
stereo, mid/side and left/right operation; undo/
redo history; A/B/C/D compare; loudness
compensation mode; and clear graphical
metering throughout for visualising what each
module is actually doing to the mix.
Although Ozone is intended for mastering,
some renegade producers and mix engineers
have been known to use it as a mixing tool.
While iZotope acknowledge this occasional
repurposing, they’re keen to emphasise that
Ozone is not designed to be a general-purpose
channel strip – audio quality is always the main
development consideration, and some of the
modules can be very heavy on the host CPU.
iZotope Alloy has a similar architecture to
Ozone, but its modules are less resource-hungry
and thus are far better suited to mixing duties.
“Like version 6, Ozone
7 lets you construct a
mastering chain of up
to six modules”
Module citizens
First among Ozone 7’s new modules is the
Vintage Limiter, based on a Variable Mu design
like the much-sought-after Fairchild 670, but not
intended to specifically emulate that classic
hardware. We found Vintage Limiter’s three
modes to offer more of a smooth, coloured
sound than the existing Dynamics and
Maximizer modules. Analog mode features a
izotope ozone 7 / reviews <
“If mastering is your
main gig, the
Advanced version
is an essential addition
to your setup”
quick attack and variable release time that lets
your bass breathe nicely. Tube mode has
variable attack and release times, and sounds
great on transient material. Finally, Modern
mode is the quickest, mixing analogue-style
non-linearity with IRC limiting and transient
reproduction – it’s the least vibey mode of the
three, but the most precise.
Also new in Ozone 7 is a fourth IRC algorithm
for the Maximizer module, aptly named IRC IV.
This works using a technology that iZotope call
Spectral Shaping. Effectively, IRC IV makes
spectral adjustments in response to the input
signal’s frequency spectrum in order to prevent
peak frequencies causing unwanted distortions
when limited. You could think of it as a real-time
frequency-flattener. IRC IV will, for example,
gently even out the frequency response of a
kick drum that’s too boomy, rather than let it
distort the vocals or instruments when limited.
IRC IV can be switched between Classic,
Modern and Transient modes. Classic mode is
said to be most similar to earlier Ozone limiting
algorithms, while Modern and Transient modes
are designed to provide greater clarity and
detail (the latter specifically optimised for
maximum transient preservation). All three
modes sound exceptional – it’s in the upper tier
of limiters, for sure – and of course, you still have
the Character slider, increasing or decreasing
the speed of the overall Maximizer response
time to help hone the sound.
Users coming from the standard version 6 to
Ozone 7 will be pleased to learn that the
Dynamic EQ module first introduced in Ozone 6
Advanced is now part of the Standard package,
enabling you to make responsive tonal
adjustments to the mix only when selected
frequency bands pass an adjustable threshold.
Fine Vintage
Ozone 7 Advanced edition also includes the new
Vintage Tape, Vintage EQ and Vintage
Compressor modules. Vintage tape is modelled
on the Studer A810 tape machine, with a typical
set of tape machine tonal controls (Bias,
15/30IPS, Low/High Emphasis) but none of the
With today’s
compressed
media, Ozone’s
Codec Preview
is a godsend
Cracking the codec
Despite its new Vintage modules,
iZotope have aimed Ozone 7 squarely
at today’s music producer. In 2016,
you’re unlikely to be catering to the
cassette tape market, but it’s
reasonable to assume that your
polished masters will be consumed via
lossy, compressed media much of the
time. Digital music stores and services
like SoundCloud and Spotify typically
use MP3 or AAC format to keep storage
and bandwidth usage to a minimum.
Of course, the problem is that, since
these formats remove particular
details from the sound, some of the
hard work you’ve put into getting your
master sounding perfect might be lost.
For example, a master that peaks at
hiss, wow and flutter associated with using the
real thing – good for gently sweetening and
softening a mix. Vintage EQ is based on the
revered Pultec EQP-1A and MEQ-5, with the
classic curves that the original hardware is
known for overlaid on top of a spectrum
analyser. Lastly, Vintage Compressor is a
feedback compressor not based on any
particular piece of hardware, but generally
emulating the tone and movement imparted by
classic analogue designs.
All the Vintage modules help to add depth
and sheen to the mix, with their authentic
analogue warmth and subtle saturation.
Lucky 7
It seems that iZotope have done it again. Ozone
continues to democratise the dark art of
mastering and, with its outstanding module
designs and helpful presets, really does put pro
results within the reach of users at pretty much
all levels. Version 7 cements the software’s place
at the very top of the digital mastering tree, and
if mastering is your main gig, the Advanced
version is an essential addition to your setup.
Ironically, Ozone’s newest modules are of the vintage
variety, adding analogue-style depth and tone
Web www.timespace.com
Upgrade V7 Standard from V1-6 Standard, £67;
V7 Advanced from V1-6 Advanced, £135;
V7 Advanced from V1-6 Standard, £169
-0.05dB in your DAW (or Ozone 7
standalone) could clip heavily when
converted to MP3. You might also
notice artifacts in the stereo field.
Ozone 7 features MP3 and AAC
export, so that you can deliver the final
files directly from the software; and
Ozone 7 Advanced introduces Codec
Preview, which lets you audition MP3and AAC-compressed playback at
various bitrates – in real time, so you
can adjust the modules in accordance –
before exporting. This helps to set an
appropriate output level and may even
inform any EQ decisions. You can even
solo the codec artifacts to just hear
what’s being removed, plus any
distortion added by the encoder.
Alternatively
Slate Digital Mix/Master Bundle
N/A » N/A » $20/month
Some of the best-sounding
processing plugins on the market
FabFilter FX Bundle
N/A » N/A » £602
Beautiful, intuitive interfaces and
mastering-grade effects
Verdict
For Easy to use
Superb, beautiful interface
AAC/MP3 export
Delicious new Vintage modules
Codec preview in Advanced version
Against Only six module slots
Not all modules have dry/wet mix
We’d like more oversampling options
With its new Vintage modules, IRC 4
Maximizer mode and clever Codec
Preview feature, Ozone 7 makes genuinely
effective mastering easier than ever
10/10
March 2016 / COMPUTER MUSIC / 97
> reviews / meldaproduction mxxx
BAND EDITOR
Define and monitor up six
frequency bands, each one
hosting a full module matrix
LEVEL METERS
Monitor the levels of individual
bands, outputs and inputs, plus
stereo width
MULTI PARAMETERS
Define up to 16 macro
controls per preset
MODULE
MATRIX
Select, route
and insert
plugin modules
GLOBAL
CONTROLS
Sample rate,
automatic gain
control (AGC),
limiting, MIDI
assignments and
snapshot settings
LANE
ACTIVATORS
Engage or
disengage the
six lanes
EFFECT DISPLAY
Controls for the currently
selected plugin module
appear here
MODULATORS
Click one of 16 modulator
tabs or the arpeggiator to
reveal their controls
VIDEO
MINUTES
…
2 WITH
MeldaProduction
MXXX €99/€999
What can you possibly add to the line of plugins that has everything?
How about a tool for mixing and modulating them all together?
MeldaProduction produce a vast array of
high-end plugins, covering everything from
the mundane to the marvellous, with most
boasting an unashamedly complex design and
fundamental feature set. Indeed, for every
enamoured user there’s another suffering GUIinduced migraine. MXXX, however, has the
potential to change all that…
XXX action
MXXX (VST/VST3/AU/AAX) is a modular system
that enables the algorithms and parameters of
any of Melda’s plugins (sans their multiband
aspects – see the Melda mania box over the
page for details) to be combined and modulated
within one multiband ‘shell’. There’s two
versions: the full MXXX (including 76 modules
based on Melda’s plugins – crucially, you don’t
get the plugins for use outside MXXX) and
MXXX Core (allowing access only to modules
based on plugins you’ve bought separately).
98 / COMPUTER MUSIC / March 2016
MXXX offers two distinct interfaces: Easy and
Edit. Easy comprises a preset browser and a
controller pane. Presets can be selected from a
range of categories: Purpose (Mastering, Mixing,
etc), Instrument (Vocal, Bass and the rest of the
band), Type (Modulation, Dynamic and more),
Character (Phat, Clean, Distorted and so on) and
Flag (Sidechain, Low-CPU, etc). Selecting tags in
the grid filters the preset list down, and when a
preset is loaded, its associated tags are
highlighted. Green highlighting means a preset
is suited to that tag, Red means it’s very
specifically suited to that tag, and Blue means it
“The 500+ presets
have been created by
Melda’s user base”
requires specific additional input (usually MIDI
or an audio sidechain).
The 500+ presets have been created using
MXXX’s modular system by Melda’s user base
and subsequently tweaked by the company
themselves. There really is something here for
every possible production purpose, from the
self-explanatory (‘British Overdrive Stompbox’),
the utterly mysterious (‘Stretcher-Reverser
Ambient Reverb’), and the extreme (‘Who are
you and what did you do to my drums’).
The window below holds MultiParameter
controls (Melda parlance for macros) tailored to
each preset. These are assigned by the preset
designer but can be edited by the user. They can
involve almost any parameter of every plugin
used within the preset, and more than one
parameter can be controlled by each
MultiParameter. So, you could assign individual
controllers in a compressor preset for threshold,
gain and ratio, or have one MultiParameter
meldaproduction mxxx / reviews <
“Automatic routing
keeps this potentially
mind-blowing system
under control”
controlling all three together… or even have
both individual and combined controls.
Melda’s entire
range of effects
is potentially
available in
the matrix
Close to the Edit
Clicking the Edit button takes you to the heart of
MXXX: a modular routing matrix with 96 slots
arranged in six lanes, which are summed at the
output, and each of which can host any of your
installed Melda plugin modules. The interface of
the currently selected module appears in the
panel to the right of the matrix, including access
to its own preset library, and modules can be
routed between lanes and combined in any
order you like, including multiple destinations
for each one. Melda’s automatic routing keeps
this potentially mind-blowing system under
control by establishing the most likely routing
for each module added, although you can ‘go
manual’ and create your own intricate signal
flows instead, of course.
All in all, it’s a creative, freeform setup that
works well, and the source signal for the effect
matrix can either be the main input or a
sidechain source (audio or MIDI). Extensive
randomisation functions make instant preset
conjuration easy, generating either totally
random variations, smart randomisation
(altering only parameters most likely to produce
usable variations) or minor tweaks.
As if that wasn’t enough, the graphical Band
Editor at the top splits MXXX into up to six
frequency bands, each containing its own
dedicated matrix, for mind-bendingly flexible
multiband processing. The full library of presets
can also be loaded, edited and saved per band.
Each and every plugin can be modulated by
any of up to 16 modulation sources (each one
chosen from LFO, Follower, Envelope, Random
and Pitch), plus an arpeggiator.
The summed output of the plugins in the
matrix ends up at Melda’s standard output
section, which features filtering, automatic gain
control, limiting, output metering (including perchannel level, mid/side and stereo width), and a
Difference option that lets you hear only the
parts of the input signal being modified. MXXX
also offers up to eight channels of surround
output, and up to 16x oversampling.
The Easy view offers a clever colour-coded
browser and access to key controls
Melda mania
MeldaProduction’s roster of plugin
effects comprises 82 distinct signal
processors, from bitcrushers and
harmonic shapers through analoguestyle filters, amp emulators and other
studio staples, to complex stereo
manipulators and more esoteric tools.
The Melda design/workflow ethos is
an acquired taste, but one well worth
acquiring. The plugins generally sound
excellent and have extensive feature/
control sets and modulation. The Melda
brand is also synonymous with
multiband processing, which they’ve
applied to almost every production
process imaginable. MXXX is no
different, offering six bands of
processing, each playing host to its
own matrix, which can be copied from
another band, loaded from the preset
library or created independently.
The price of power
There are plenty of reasons to recommend
MXXX, and if you total up all the effects in the
full version, the mammoth €999 price tag
actually represents a saving of more than 50%
over buying them individually, assuming that
you don’t mind running them in MXXX rather
than individually (and if you can stretch to
€1299, you can get the MTotalBundle, which
includes MXXX). Nonetheless, we can’t help
thinking it’s still too high – even die-hard Melda
fans are unlikely to buy all of their plugins
separately. The real joy of MXXX lies in having
access to its stunning collection of presets, but
much of that joy is lost if a huge chunk of it has
to be bought separately on an as-required basis,
as is the case with the Core version. Perhaps a
pricier Core that allowed access to all the
presets but only let you edit the parameters of
the component plugins you’ve bought
separately might be a better proposition.
Pricing issues aside, MXXX is a success,
making Melda’s sometimes impenetrable but
often wonderfully creative plugins much easier
to get into, while offering extraordinarily deep,
elaborate programmability. We’d go so far as to
say that it’s unprecedented in its breadth, depth
and flexibility.
Web www.meldaproduction.com
MXXX’s 76 modules are usually
functionally identical to the standalone
versions, although some actually
improve on them (eg, longer delay
times). None of the multiband plugins
are included (for obvious reasons,
MXXX itself providing the exact same
multiband goodness); the excellent
MPowerSynth is onboard, however.
If you like hyper-complex
modulation and über-powerful
multiband surround processing, and
think instruction manuals are for
wimps, Melda have long been the
developer for you. And now, for those
who find a screen full of bewildering
options and labels the stuff of
nightmares, MXXX’s excellent preset
system and easy modular routing make
these often intimidating plugins rather
more approachable.
Alternatively
Plug & Mix Chainer
N/A » N/A » $99
Hosts P&M’s entire range of effects,
plus third-party plugins, and even
works as an AAX wrapper
Mu-Tools MUX
193 » 9/10 » €59
Modular synth and effects plugin,
with modulation controls, that also
hosts third-party VST plugins
Verdict
For Hugely, insanely powerful
Staggering range of effects
Simple when you want it to be
As complex as you could need
Intuitive smart routing
Excellent modulation
Against Full version is very expensive
The pricing structure may deter some, but
if you have the cash, there’s practically no
processing job MXXX isn’t more than up to
9/10
March 2016 / COMPUTER MUSIC / 99
> reviews / uvi falcon
TABBED INTERFACE
Edit Programs, apply effects, events
and modulation, and even access
scripted components of patches
VIEW
Swap between Main, Mixer
and Performance tabs
PARTS PAGE
Edit the current
Multi’s Parts list
alongside specific
Part components
(Tree) and global
Part settings (List)
VIDEO
BROWSER PAGE
Browse Programs,
Oscillators, Effects,
Multi-effects
chains, Events and
Modulation sources
MODULATION
INDICATORS
Modulation
destinations
include real-time
indicators to show
modulation activity
PROGRAM STRUCTURE
View the elements of your sound in the Edit
panel – Layers, Keygroups and Oscillators
are shown at the top, and Modulations and
Mappings are at the bottom
MINUTES
…
2 WITH
UVI
Falcon
£225
Swooping down from the sonic skies, this feathery new entry
into the ‘power synth’ market wants to prey on your productions
Parisian developers UVI are best known for
their free UVI Workstation sample-based
synth and the many high-quality UVI Soundbank
sample libraries that can be bought and loaded
into it. Their latest instrument, Falcon (VST/AU/
AAX/standalone), also loads UVI Soundbanks,
but expands massively on UVI Workstation,
offering much more in the way of editing and
other forms of synthesis – generally, it’s far
closer in style to MachFive, the sampler they
developed with MOTU, than UVI Workstation.
Size matters
Structurally, Falcon is multitimbral, with a Multi
(.uvim) patch containing unlimited Parts. A Part
is a slot for a single Program, with associated
level fader, inserts and auxiliaries in Falcon’s
Mixer, while a Program (.uvip) is the main soundgenerating patch, with Oscillators assigned to
Keygroups, which are then combined in Layers.
Although unusual for a synth, this sort of
100 / COMPUTER MUSIC / March 2016
structure is very typical for a sampler.
So, Falcon’s patches are constructed from
Oscillators, Effects, Modulators and Events (MIDI
generators), dragged into the main interface
from the Browser. It launches with the central
pane showing the Main view, which houses five
tabbed pages – Info, Edit, Effects, Events and
Mods – and switches to represent the currently
selected Part. Access to the list of Parts within a
Multi is gained via the foldaway three-tab panel
on the left, where you’ll also find a breakdown of
each Part’s components (Program layer,
Keygroup, effects, etc) and Part-specific settings
such as MIDI channel, polyphony and so on.
To the right of the Main screen is the
foldaway six-tab Browser panel, providing
access to any installed UVI Soundbanks and
Falcon Factory (see below). The other five tabs
handle Oscillators, Effects, MultiEffects
(preconfigured chains of Effects), Event
Processors and Modulation presets, all of which
we’ll come back to shortly. There are numerous
presets available for every element, making the
patch-building process a fast, drag-and-drop
affair if you want it to be.
The Main screen can also be switched to two
overall Multi views: Mixer (a global mixer with
inserts and four hardwired auxiliaries) and
Performance (an overview of the Multi’s Parts).
In practice, however, most of the action takes
place in the Main view Edit page, with foldaway
slots for Oscillator, Keygroup, Layer and
Program at the top, and Modulation and
Mapping at the bottom. Various elements
– Oscillators, FX, Mods and Events – can be
hidden to clear window space. All told, it’s a
reasonably elegant interface, considering the
potential complexity of an elaborate Multi patch.
Millennial Falcon
With 15 Oscillator types onboard (seven
sampling and eight synthesis), Falcon gives
uvi falcon / reviews <
“Overall, Falcon is an
ambitious, powerful
instrument of a type
that certainly doesn’t
come along every day”
access to a massive palette of sound sources,
including virtual analogue (Analog and Analog
Stack), four-operator FM, Wavetable and Drum
synthesis. For sample playback, there’s Sample
(regular mode), Slice and Stretch, and four
engines created by French music research
institute IRCAM (Granular, Multi Granular, Scrub
and Stretch). Further, more esoteric synthesis
types include string physical modelling (Pluck),
audio and image file import (Wavetable), phase
distortion (Wavetable), Noise (15 types), and an
eight-drawbar Organ.
The raw sounds are augmented by 82 Effects
(23 of them from UVI Workstation), including
your typical EQ, filter and modulation
processors, as well as some less commonplace
ones (Biquad and Vowel Filters, Big Pi Tone fuzz,
et al), plus three visual feedback devices
(Spectrum Analyzer, Tuner and Phase Meter).
For parameter modulation, there are eight
internal Modulator types, including regular
envelopes (AHD, Analog ADSR and AD), a Multi
Envelope with unlimited breakpoints, Step
Envelope, LFO, plus limitless Macros.
Finally, MIDI data is generated by Event
Processors, which include Arpeggiator, MIDI File
Player, Micro Tuner and user-modifiable Script
Processors written in the Lua scripting
language. You can edit the included Factory
Scripts (Chorder and Harmonizer, for example)
or make your own from scratch. Scripting
requires an external text editor, which can be
launched from within Falcon.
Bird land
The included Falcon Factory sound library
(630MB) includes many wavetables and source
samples for the Granular patches, and
comprises 458 Programs in 20 categories –
arps, basses, chords, pads, polysynths, etc.
There are some awesome patches in there, and
Falcon really excels at rich pads and edgy,
aggressive tones, and the solid basses are
worthy of mention, too. Further highlights
include the arpeggios, and the Granular, Sub
Drones and Experimental folders, with their
many ethereal textures.
The Effects tab provides a more focused,
easier-to-edit view of Falcon’s effects processors
With its sample playback options, Falcon ably handles loops, pitched instruments and one-shots
Sample power
Key to Falcon’s success are its sample
import and manipulation features.
Pretty much every audio file format
worth supporting is supported – AIFF,
FLAC, MP3, MP4 (with QuickTime
installed on Windows), REX1, REX2, SDII
(on Mac), WAV, WAV64, SND and CAF –
although the only compatible sampler
formats are SoundFont and UVI’s own
Soundbank (UFS); ie, no EXS, Kontakt,
HALion, etc.
On the sample manipulation front,
Falcon gives plenty of options. Slice, for
example, includes editable markers
and full export of slices as individual
files, and so is ideal for carving up drum
loops. Stretch (and the better-sounding
IRCAM Stretch), meanwhile, allow
We do feel that there should be more content
included, though. Falcon includes a $100 UVI
Soundbanks voucher, but given UVI’s history
and Falcon’s sample playback capabilities, they
surely could have put together a ‘highlights’
package from their many libraries. That said,
existing UVI Soundbank owners will be
delighted to get full editing of their favourite
libraries right down to the level of individual
samples – something previously only possible in
MachFive, and not necessarily supported by it
for recent Soundbanks.
Overall, Falcon is an ambitious, powerful
instrument of a type that certainly doesn’t
come along every day. Two main factors
turbocharge its essentially fairly straightforward
architecture: the number of simultaneous
Oscillators, Keygroups and Layers being limited
only by the power of the host CPU; and Effects
and Modulators being applicable at the
Keygroup, Layer and Program levels, with
Events at Layer and Program levels. The lack of
additive synthesis aside (the only type we can
think of that isn’t included), it has enough
flexibility to serve as your primary source for all
manner of sounds – although you’ll probably
need to buy a few UVI Soundbanks to achieve
that goal.
Web www.timespace.com
sounds to be pitched without altering
their timing, and assist in convincingly
transposing samples across keyspans
– just the thing for multisampled
keyboard instruments and the like.
Of the two IRCAM Granular
oscillators, our favourite is Multi
Granular, which adds up to eight unison
voices with offset timing and sample
start position. It includes a Grain size
Variation parameter and Grain Reverse,
both of which can lead to some
seriously warped sounds.
Other power features include Apply
FX, for permanently applying any of
Falcon’s effects to loaded samples; and
playback looping, which can be set to
forward or forward/back.
Alternatively
Spectrasonics Omnisphere 2
220 » 10/10 » £278
Massive sample library, sample
import and supercharged synthesis
Native Instruments Reaktor 6
225 » 10/10 » £169
Design patches from scratch
or fire up one of over 70
ready-made instruments
Verdict
For Copious sound generation options
Massive modulation potential
Big effects palette
Drag-n-drop component presets
Slick interface
Against Pricey
Bundled library should be bigger
Capable of generating and processing a
vast array of sounds, Falcon is a very big,
powerful bird indeed – shame its included
soundbank isn’t similarly large, though
9/10
March 2016 / COMPUTER MUSIC / 101
> reviews / soundtoys soundtoys 5
PRESET MENU
Browse, load and save
presets, and A/B
different settings
RECYCLE
Blend the Effect Rack output back into
the input for powerful feedback effects
SIZE
Resize the Rack to
suit your display
SYNC
CONTROLS
Set the global
tempo – you can
still use modules’
individual Sync
controls, too
EFFECT PRESET
TOGGLE
Open the preset
browser for the
individual effect
TWEAK MENU
Access additional
controls for many
Soundtoys effects
VIDEO
MINUTES
…
2 WITH
TOOLBOX
Drag and drop
effects into the
main rack window
EFFECT BYPASS
CONTROLS
Solo or Bypass
effects units
in the Rack
PRODUCT INFO
Click the Soundtoys logos to read about
the hardware that inspired each effect
Soundtoys
Soundtoys 5
$499
The ’Toys’ latest full version update has been five years in the making –
but does time spent in development correlate to quality of results?
New releases from Soundtoys are infrequent
but highly anticipated, and routinely hailed
as future classics. It’s been five years since the
last major version update to their flagship
effects bundle (Soundtoys Native Effects V4 –
10/10,
152), though, so can Soundtoys 5 (VST/
AU/AAX) stand out in today’s busy market?
Comprising all 18 plugins in the current
Soundtoys catalogue, one of them a virtual rack
within which to house the others (see On the
Rack, right), its prospects look good on paper,
but let’s go through them one by one, starting
with a very quick run-down of those we already
know and love from v4.
FilterFreak 1 and 2 are go-to filter plugins for
many producers, offering such delights as
rhythm modulation sequencing and a
convincing Analogue mode. PanMan draws
inspiration from auto-panning pioneers like
Audio & Design’s PanScan and is itself now a
recognised industry standard. EchoBoy is a
102 / COMPUTER MUSIC / March 2016
modern studio staple, taking its lead from a
range of hardware legends including the
unforgettable MemoryMan. Tremolator offers a
taste of Fender’s Vibrolux amp and others, but
goes further, enabling powerful sequenced
gating. Crystallizer hints strongly at Soundtoys’
Eventide H3000 heritage (the company
founders designed it, essentially), slicing up
audio and pitchshifting the consequent chunks.
Decapitator was the first saturation plugin to
“EchoBoy is a modern
studio staple, taking its
lead from a range of
hardware legends”
tempt many big-name producers away from
their Ampex 350s, EMI TG Channels, Neve 1057
preamps and Thermionic Culture Vultures.
And PhaseMistress takes iconic boxes like
Mutron’s BiPhase and adds 24-stage phasing,
relegating a number of proud pedals to a box
underneath the SSL.
The new blood
Following the release of Soundtoys Native
Effects v4, the Soundtoys catalogue has
continued to expand, and all nine plugins added
since 2010 are also included in the v5 bundle.
Devil Loc Deluxe (and smaller sibling, Devil
Loc) are based on Shure’s M62V (aka Level Loc),
a late-60s vocal compressor subsequently
reinvented as a drums squasher – it scored 9/10
in our review in
166, so we won’t get into it
again except to say that it’s great for heavy and
characterfully distorting compression.
Radiator recreates the sound of Altec’s 1567A
soundtoys soundtoys 5 / reviews <
“PrimalTap is one
of the best and
most distinctive
delay plugins that
money can buy”
tube mixer, immortalised on countless Motown
hits. The original’s Treble and Bass EQs are
present, as is the Gain control, delivering over
90dB of boost (with optional authentic noise),
and the Mic/Line input selector. Radiator is
perfect for adding character to just about
anything you throw through it – transparency
certainly isn’t the name of the game.
Ever wondered how some 80s synth patches
sounded so lustrously wide? They were
probably mixed using the Eventide 910, Eventide
H3000 or AMS DMX 15-80S, employing the trick
of pitchshifting one channel up a little and the
other down, then delaying the timing of either.
Soundtoys MicroShift condenses this technique
down to two main controls, Detune and Delay
(offsetting the timing of the L/R signals), and
three model switches, calling up the sounds of
the aforementioned hardware. Beyond that,
Focus progressively removes low and mid
frequencies from the effect.
Boy wonder
LittleAlterBoy combines technology from
Soundtoys’ first release, Pure Pitch, with
saturation from Decapitator to create a variety
of vocal pitching effects. The pitch section’s two
(linkable) dials, Pitch and Formant, do what
you’d expect, while three pitch processing
modes – Transpose, Quantize and Robot – switch
between regular transposition, T-Pain style hardpitching and locking the input signal to a single,
user-defined pitch. The Drive dial adds grit to
the end product, and the Dry/Wet knob allows
parallel processing. The resulting range of
effects is awesome, and the MIDI control feature
lets you pitch the signal via MIDI input, turning
the plugin into a robotic voice player (in Robot
mode) or harmonizer. LittleAlterBoy can do
wonderful things to rhythmic sources, too.
Next, PrimalTap, modelled on Lexicon’s late70s/early-80s game-changer, the Prime Time
digital delay. Its processing centres on dual
independently edited and modulated delay
lines, configurable in Classic, Parallel, Ping-Pong,
Reverb, Series and Criss-Cross modes, with the
Each Soundtoys plugin features an information window
describing its inspiration and functionality
A large
collection of
excellent presets
showcase the
potential of the
Effect Rack
On the rack
While all of Soundtoys’ plugins are
available individually, only Soundtoys 5
gets you their Effect Rack, a virtual
enclosure in which groups of
Soundtoys effects are piled up and
saved as self-contained chains.
To build (or rearrange) your rack,
you simply drag and drop modules into
and out of the main area from and to
the sidebar. Each effect has its own Solo
and Bypass controls, and the rack itself
has master input and output Gain
controls, a Dry/Wet balance knob, and a
Recycle knob that controls the amount
of output signal fed back into the input.
A global tempo control for the rack as a
whole can be set manually, triggered
via the Tap Tempo button, or synced to
the host clock.
original’s sound-defining Multiply feature
opening up longer delay times by progressively
dropping the sample rate with each
multiplication of the base time (x2, x4, x8). A
VCO modulator is independently applicable to
each delay line for lush chorusing, while the
Freeze function captures a chunk of signal for
manipulation. It all conspires to deliver
everything from flanging and pitch wobbling to
ring modulation-style effects. PrimalTap is one
of the best and most distinctive delay plugins
that money can buy – alongside EchoBoy!
In addition to that lot, three cut-down ‘Little’
versions previously used as marketing freebies –
LittleRadiator, LittleMicroShift and
LittlePrimalTap – have been thrown in, too.
It’s testament to the quality of Soundtoys’
algorithms that even their most venerable
plugins – now over a decade old – have stood
the test of time, and the ten new additions make
what was already an essential collection of
effects for producers in all genres even more so,
despite their odd idiosyncrasies and sometimes
fiddly interfaces.
We’ve often heard it said that it’s hard to get a
bad sound out of a Soundtoys plugin, and that
remains very much the case with version 5 of
their amazing bundle.
Web www.soundtoys.com
11 categories of Effect Rack presets
are included, too, from Guitar, Bass and
Vocals through to the more esoteric
Sound Design and Modulation.
It’s all great stuff, but we’d like to see
input/output metering added (things
can get pretty heavy, pretty quickly)
and more advanced audio routing
options – the signal flow is inflexibly
top-to-bottom. Also, none of the ‘Little’
effects are available in the Effect Rack,
including LittleAlterBoy – Soundtoys
tell us LAB’s latency is the issue, and
that they’re working on it. Also, macro
controls assignable to multiple
parameters of effects in the Effect Rack
would be welcome, but the lack thereof
is sort of made up for by its excellent
host automation handling.
Alternatively
MeldaProduction MXXX
227 » 9/10 » €999
For twice the price you can
get the most full-on processing
suite known to man
Plug & Mix VIP Bundle
193 » 7/10 » $249
45 plugins for half the price,
plus a racking system to combine
them (and third-party plugins)
Verdict
For Lovely new effects
Existing plugins are still awesome
Effect Rack is ace
Brilliant presets
Superb value
Against A few effects missing from the
Effect Rack
There are 18 compelling reasons to buy
Soundtoys 5, and none not to – the leading
effects bundle reaffirms its classic status
10/10
March 2016 / COMPUTER MUSIC / 103
> reviews / lsr audio vlb 902 de-esser
VIDEO
MINUTES
…
2 WITH
LSR Audio
VLB 902
De-esser
$99
LSR continue down the path of classic emulation with a true
golden oldie: the simple but effective DBX 902 de-esser
Back in the halcyon decade of the recording
studio – the 1980s – there was one dominant
option when it came to de-essing: the DBX 902,
a 500-series ‘lunchbox’ module commonly
racked up in groups of four or five. The DBX ‘90’
range also included the 903 compressor, 904
gate and 905 EQ, but none of these were as
popular as the 902 de-esser. There were two
main reasons for this: the 902’s simplicity, and
its effectiveness.
LSR Audio’s plugin emulation of this classic,
VLB 902 (AU/VST/RTAS/AAX), comes in a
window that takes up two 500-series ‘slots’.
A faithful replication of the original hardware
occupies the left half, while a set of all-new
listening modes takes up the right.
The controls don’t take long to get your head
around. The In switch at the top activates the
unit, while the HF Only switch below toggles
between full-band reduction and just highfrequency reduction when esses are detected.
Next to these is the ten-stage LED-style Gain
Reduction meter – a fast-acting display that
clearly shows how many decibels your esses are
being reduced by. The 902 uses a VCA to control
the ‘ess’ level, with the Frequency knob setting
the target frequency above which sibilance is
detected, and the Range knob controlling the
amount of sibilance reduction required.
In the right-hand panel, you can switch
between listening to the main de-essed signal
output, the Detector signal and the isolated DS
signal. Simply use the Detector monitor while
moving the Frequency knob to identify the
problem band, then switch over to the DS signal
while twiddling the Range knob to hear what’s
being rejected.
sometimes you need something that ‘just
works’, and in that regard, VLB 902 is more or
less perfect.
Web www.lsraudio.com
Memory lane
We’re quite familiar with the hardware version,
and it was a joy to fire VLB 902 up and get
impressively similar results equally quickly and
easily, targeting and dispatching vocal sibilance
in a very subtle, transparent way. Yes, you can
get your singer to lisp by turning the Range up
too much, but if you keep it within the
recommended ‘Norm’ quadrant, you’re pretty
much guaranteed excellent results in an instant.
It also works well on non-vocal signals in which
high frequencies are an issue (see Beyond the
Voice, below).
All in all, VLB 902 is a very faithful
reproduction of the original DBX 902, both
inside and out. If you’re familiar with the original,
you’ll immediately feel at home and quite
possibly a tad nostalgic as you hear those esses
melt away with minimal effort on your part, the
added monitoring features making setup even
easier, if that’s possible. It might lack many of the
features you expect on a modern de-esser
plugin, such as attack and release times, Q,
lookahead and mid/side processing, but
Alternatively
FabFilter Pro-DS
187 » 10/10 » £114
Straightforward and effective
de-esser with many more features
Toneboosters TB Sibalance
N/A » N/A » €20
For those who crave modern
tweakability, this one is the big
brother of our own Sibalance CM
Verdict
Beyond the voice
Although invented with vocals in mind, the
de-esser can be equally useful for sorting out
certain other sounds of an overly harsh or
bright nature. Drum loops that have gone
through abusive processing can end up with
overly sharp hi-hats and cymbals, and the
902 in HF-only mode aimed at around 1.8kHz
does a great job of controlling the nastiness.
The other instrument that can sometimes
be saved by a good de-essing is steel-strung
acoustic guitar, particularly if it’s one with
104 / COMPUTER MUSIC / March 2016
new strings and/or when bar chords are
involved and the player scrapes up and down
the fretboard in between them. Use the
Detector monitor on the 902 to tune into the
scrapes, and the Range to reduce them to
listenable levels.
Occasionally, you might need to de-ess a
full mix during mastering, but that’s
definitely not a task for the 902, demanding
far more surgical precision than the original
or LSR’s emulation are capable of.
For Simple
Effective
Incredibly authentic
Detector signal monitoring
De-ess signal monitoring
Against Lack of surgical features won’t
satisfy the perfectionist
A flawless recreation of one of the best
de-essers ever made, VLB 902 gets the
job done with no mess or fuss
9/10
> reviews / kilohearts multipass
MACROS
Eight knobs freely
assignable to multiple
Snapin parameters and
available as LFO targets
PRESETS
Pick from plenty of
bundled presets, and,
of course, save your own
MODULATION SOURCES
Use any of the five modulation
sources to bring movement to
most Snapin parameters
SIDECHAIN
Route in an
external signal
for use as an
envelope
modulator and/or
LFO trigger
POST FX
Add Snapins to
process the final
full-band signal.
A good place to
insert a limiter
PRE FX
Process the
full-band signal
prior to the
band splitter
MULTIBAND
PROCESSING
Set crossover
frequencies for
the five bands
MIXER
For each band, control balance and pan,
wet/dry mix, and the amount of signal
sent via the Post FX to the output
FX LANES
Select Snapin modules
from the dropdown
menus in each band
VIDEO
MINUTES
…
2 WITH
kiloHearts
Multipass
From $99
Combining multiband processing with a modular architecture, will this
ambitious and expandable new effects platform give us palpitations?
The core concept behind Multipass is
wonderfully straightforward. A VST/AU
effects plugin, it splits the input signal into up to
five discrete bands, each with its own effects
lane, into which you can drop as many effects
modules – called “Snapins” – as you like (CPU
permitting, of course).
As well as the five band lanes, Snapins can
also be inserted into the full-frequency signal
before or after the band splitter, in the Pre FX
and Post FX sections on the left and right. To
marry it all up, there’s also a comprehensive
modulation system and mixer controls, with
which all sorts of dynamic effects patterns can
be created.
Snapin specifics
Each Snapin is actually a full plugin that can also
be loaded into a VST/AU host on its own, and you
buy Multipass with five, ten or 17 Snapins
included (not of your own choosing, alas).
106 / COMPUTER MUSIC / March 2016
The ‘Basic’ Multipass bundle ($99) consists of
Chorus, Delay, Gain, Limiter and Stereo Snapins –
useful, but not much to get inventive with apart
from Stereo, with which you can get some cool
L/R modulations happening.
The Producer Pack ($194) adds in
Compressor, Distortion, Filter, Haas and Phaser.
The Filter is the highlight here, with a choice of
seven curves, and Cutoff, Q and Gain parameters
that can be assigned to any of Multipass’
modulation sources for dynamic and rhythmic
“Faturator and
Disperser can also
be loaded into
Multipass as Snapins”
tonal movement. Applying Distortions (there are
five types onboard) to individual bands and
blending them in subtly can bring some
interesting character to the table, but they tend
to be overly crunchy by nature.
The full Modular Madness bundle ($327) adds
in Bitcrush, Comb Filter, Formant Filter,
Frequency Shifter, Pitch Shifter, Resonator and
Trance Gate. Of these, the Formant Filter and
Trance Gate offer the most creative potential,
the former accentuating vowel sounds for
morphing between using an X/Y pad, the latter a
step-sequenced slicer.
All of the above Snapins can be bought after
the event for $19 each if you don’t initially shoot
for the Modular Madness bundle. Interestingly,
Kilohearts’ other two effects plugins – Faturator
(another distortion) and Disperser (an excellent
phase-distortion effect that scored 9/10 in
194) – can also be loaded into Multipass as
Snapins. They cost $39 each.
kilohearts multipass / reviews <
“The whole thing
positively invites
tweaking and
experimentation”
Five-piece band
To activate a band, you simply turn it on; to set
its frequency range, you drag the handles
around in the Spectrum/Band Splitter area
above. Clicking empty space in a band lane
brings up a menu of your installed Snapins from
which to make a selection, and Snapins can be
freely dragged around and copied from one lane
to another. Each band has its own Solo and Mute
buttons, and every Snapin can be individually
bypassed. It’s all beautifully intuitive.
At the bottom of each band are Gain, Pan and
wet/dry Mix knobs, plus a Post knob, which
governs the amount of processed signal sent to
the subsequent Post FX lane. The Pre FX and
Post FX lanes behave in exactly the same way as
the Multiband lanes, with the same set of mixer
controls minus Post.
The modulation system is very deep. Each
modulation source (eight Macros, two LFOs, two
envelopes and eight MIDI controllers) is
effortlessly assignable to multiple parameters
from throughout Multipass and its loaded
Snapins, and the envelopes and LFOs can be
triggered by any of the five bands, MIDI note-on
messages, or an external sidechain signal.
A good number of presets are included with
Multipass, but it’s so easy to use that you’ll be
coming up with your own mad effect chains in
no time. The range of effects and the interaction
between them is impressive, and the whole
thing positively invites tweaking and
experimentation. As noted, the filters are the
highlights – modulating the Formant Filter
provides hours of entertainment and endless
exciting rhythmic patterns while the lowlights
are the distortion and saturation algorithms,
which are a bit crunchy and unpleasant. Some
tape- and valve-style warmth wouldn’t go amiss.
Multipass is your ticket to designing everything from multiband mix tools to all-out manglers
But… why?
So what sort of thing can you do with
Multipass’ multiband processing? Let’s
use a drum loop, for example: to give it
more beef without adding too much
crunch, you might drop a Distortion
Snapin into a low-frequency band, turn
up the Drive and drag the band
crossovers to just work on the kick
drum area. The Gain for that band
mixer can be set to balance the lowend, keeping the high-end detail clean
and clear.
Let’s say we then want to run the
loop through a delay. Applying it to
the low-end would muddy the sound,
and putting it on the top-end would
make things too busy, so dropping a
Delay Snapin into a mid-range band
Multi kill!
and dynamic processing environment. The
range of Snapins available is good and no doubt
will only get better both in numbers and types .
We’d love to be able to load in full third-party
plugins, though, and it would be awesome if the
platform was opened up to other developers;
but as it stands, Multipass is a fantastic
multieffects plugin with a very bright future.
Multipass is one of the slickest modular systems
of any kind that we’ve come across in software.
Being able to add effect elements into the signal
path wherever you like is awesome, and the
modulation setup turns it into a hugely inventive
Web www.kilohearts.com
Info Basic (with five Snapins): $99
Producer Bundle (with ten Snapins): $194
Modular Madness (with 17 Snapins): $327
does the trick.
We could then add more interest by
dropping a Low Pass Filter into the
same lane below the Delay, and
modulating its Cutoff using an
Envelope to create a wah-wah style
effect on the delay. Even with all this
going on, the top-end detail – hi-hats,
cymbals, etc – remain distinct, clear and
uncluttered, as our effect is only
applied to the mid-range.
That’s really just a very basic
example of the sort of thing you can do
with Multipass. The possibilities are
limitless, and even though many of the
Snapins are quite simple, it’s the way
they can be made to interact that’s key
to their potential.
Alternatively
Blue Cat Audio MB-7 Mixer
198 » 8/10 » €99
Multiband VST/AU plugin host –
include no effects of its own, mind
PSP Audioware PSP N2O
163 » 9/10 » $179
Just one band and filter-centric, but
a powerful amodular multieffect
Verdict
For Effective multiband modular setup
Intuitive GUI
Impressive modulation system
Good filter effects
External sidechaining
Against Basic Snapins bundle is dull
Distortions aren’t that attractive
You can throw as
many Snapins as
you like into any
band to create
intricate setups
A huge and powerful modular setup giving
a vast array of sounds, Multipass is a fun,
easy-to-use effects processing monster
9/10
March 2016 / COMPUTER MUSIC / 107
> reviews / liquidsonics reverberate 2
VIDEO
MINUTES
…
2 WITH
LiquidSonics
Reverberate 2
£80
This powerful convolution reverb has been overhauled and updated
with a number of interesting new features and improvements
In 2010, LiquidSonics’ Reverberate
convolution reverb plugin made a real
impression with us, scoring 9/10 in
142. Now,
almost six years later, we have Reverberate 2
(VST/AU/AAX). As with version 1, the key aspect
of the plugin is its use of two impulse responses
(IRs) at once (if desired). As of v2, though,
Reverberate can also generate algorithmic early
reflections and reverb tails from scratch, and
take advantage of LiquidSonics’ new Fusion-IR
technology (see Fusion Reactor).
The interface is navigated via ten tabs at the
top (the eight of v1 plus Delay and SplitMod).
The IR1 and 2 Edit tabs contain controls for
shaping the early reflections and reverb tail of
each IR, including Predelay, Start, End and
Stretch dials for adjusting the IR’s length, an
ADSR amplitude envelope, and the new Spatial
Enhancer for modifying stereo width. Also called
up in the IR Edit tabs, the ER algorithm includes
controls for setting the virtual room’s type and
Size, and the Diffusion, Separation and Depth of
the reflections; while the Noise Tail Generator
uses random noise with filtering and diffusion to
smoothly progress from early reflections to
reverb tail.
Each IR (or algorithm) feeds into its own fiveband EQ with a choice of per-band filter types,
and a new addition in Reverberate 2 is timedependent modulation of each band. This
simulates the effect of high frequencies echoing
with less strength than lower ones in a real
space by subtly low-pass filtering the reverb as it
decays. The new Sheen control, meanwhile,
adds high-frequency gloss to impulse responses
that are naturally dull.
Conjugating the ’verb
The new SplitMod tab houses controls for
modulating the pitch of each IR’s early and late
reflections, with adjustable split time between
them. This functionality is used by some highend algorithmic reverbs to get a richer sound,
and can be exploited in Reverberate 2 to thicken
up IRs, or as a creative effect.
The three Chorus effects (one for each IR and
a third at the end of the signal path) of v1 are
joined by three stereo Delays (one before each
Chorus) with separate controls for each channel
and the ability to feed one channel into the
other for a ping-pong effect.
The Mixer tab is where the Gains, Pan
positions and Phases of the IRs are controlled,
alongside IR Balance, Final Mix Dry/Wet and
Gain dials, and an LFO for modulating the
panning of both IRs and their relative balance.
Other new features include a five-band Post
EQ between the final Chorus and Delay modules,
with two LFOs; a collapsible preset browser; five
colour schemes; AAX compatibility; and two
MIDI-assignable controls that can be mapped to
many of the plugin’s parameters.
Fusion reactor
Fusion-IR is a new type of processing in
Reverberate 2 that LiquidSonics reckon takes
convolution to a whole ’nother level of
accuracy and realism. Whereas conventional
impulse responses used by (this and) other
convolution processors capture the space or
device being ‘sampled’ in a single state (ie,
without any form of modulation or variance),
a Fusion-IR samples multiple impulse
responses from the source, then modulates
between them on playback. The goal is to
108 / COMPUTER MUSIC / March 2016
replicate the time-varying behaviour of topend hardware reverb, giving a more detailed,
lively, natural sound. Additionally, Fusion-IRs
sample the early reflections and reverb tail
separately, allowing you to balance the two.
It’s powerful stuff, and to show their new
technology off, LiquidSonics have created a
set of Fusion IRs that can be downloaded
from their website for free, including some
sampled from a Bricasti M7 hardware unit.
They sound amazing, needless to say.
Reverberate 2 is flexible and easy to use, and
includes some excellent presets. It does take a
fair amount of CPU running in zero-latency
mode, but the processing latency can always be
increased. One thing that can’t be changed,
though, is the size of the GUI – it’s tiny, cramped
in places, and quite hard to read. That aside,
Reverberate 2 is one of the best convolution
reverbs around, and a steal at this price.
Web www.liquidsonics.com
Alternatively
Audio Ease Altiverb 7
178 » 9/10 » €499
Stunning convolution processor
with tons of bundled real-world
impulse responses
Waves IR-1
N/A » N/A » $249
Hybrid convolution/algorithmic
reverb with over 100 IRs of real
spaces and devices
Verdict
For Excellent value for money
Superb sound quality
Fusion-IRs sound great
Zero-latency operation
Combine two IRs to powerful effect
Well laid-out interface
Against Can be quite CPU-hungry
Scalable UI would help
A sonically impressive, flexible and
intuitive convolution reverb that offers an
expensive sound and potential-packed
Fusion-IR technology at a great price
9/10
> reviews / xln audio ds-10 drum shaper
VIDEO
MINUTES
…
2 WITH
XLN Audio
DS-10
Drum Shaper
€90
The developers of Addictive Drums and Keys have created
this spin-off transient processor – can it get us hooked?
XLN Audio are best known for their Addictive
series of sample-based drum and keyboard
instruments, and one often-overlooked aspect
of them is their excellent onboard effects
processing. DS-10 Drum Shaper (VST/AU/AAX) is
their first Addictive FX, a transient shaper that
combines three drum-specific Modes (Kick,
Snare and Bus) with a trio of shaping algorithms
(Classic, Natural and Smooth).
The Mode is selected using the three buttons
at the top, and the detection and applied gain
curve are optimised for the named drum type.
Bus is the most general-purpose option, working
well with stereo drum mixes, while Snare and
Kick are tailored to the frequency content and
characteristic transient nature of those drums.
The three algorithms influence the overall decay
style, with Classic (the same as Addictive Drums
2’s Shape processor) being quite aggressive and
‘pumping’, Natural more refined, and Smooth
having the smoothest decay of all.
Transient lengthening and shortening is done
via typical Attack and Sustain controls (+/-100%
for each), and further enhancement is provided
by the Mojo control, which affects a particular
‘quality’ depending on the Mode: Tightness in
Kick Mode, Body in Snare Mode and Presence in
Bus Mode. After this you get output Gain,
followed by Soft Clip and Bypass buttons.
DS-10 also features a real-time input signal
waveform display with an orange envelope
trace indicating the gain applied by the
transient shaper.
The shape of things to drum
The choice of algorithm has a more obvious
impact on transient shaping than the Mode
setting. Classic is by far the most coloured of the
three; positive Sustain settings really emphasise
tails of snares in that mode, for example. In
contrast, thanks to its fast attack and initial posttransient release, the Natural algorithm is very
transparent, enabling more careful emphasis of
the tail with the Sustain control. Smooth shares
the same fast response, but with a slightly
gentler initial sustain.
One more consideration is that more
transient gain is applied with the Natural and
Smooth algorithms than Classic. The upshot of
all of this is that the Natural and, to some extent,
Smooth options deliver cleaner, punchier, louder
transients than Classic, and this is most
noticeable with kick drums, where Classic
sounds positively lacklustre in comparison.
The Mojo knob introduces another layer of
frequency-specific shaping that dovetails nicely
with Attack and Sustain, and its tighter settings
are brilliantly effective on kicks and snares,
counteracting some of the frequency build-up
that results from really long Sustain settings. In
Bus Mode, meanwhile, Mojo (Presence) works
well as an enhancer or harshness tamer on
overheads, and we even had some success
applying it to full-frequency sounds such as
acoustic guitar, piano and electric bass.
Our only minor issues with DS-10 are the lack
of input gain, simply to help with gain staging,
and multiband operation (especially for Bus
mode), which could be useful. Ultimately
though, DS-10 is a very useful plugin, offering
more targeted and effective tools for drum
shaping than your typical transient shaper.
Web www.xlnaudio.com
Alternatively
Softube Transient Shaper
218 » 9/10 » $99
Dual-band design with reasonable
flexibility and good CPU efficiency
Waves Trans-X
N/A » N/A » $99
Wide-band and four-band
modes provide transient shaping
for different scenarios
Verdict
Find your Mojo
Drum Shaper’s bipolar Mojo control provides
tailored shaping of its three Modes, and it has
a pretty audible effect, even with the Attack
and Sustain settings at zero. By comparing
processed and unprocessed channels, we can
establish that the Presence (Bus) and
Tightness (Kick) options influence high and
low frequencies respectively. In Kick Mode,
you can achieve much tidier (positive Mojo)
or more flappy (negative Mojo) low
frequencies, while Bus Mojo enhances or
110 / COMPUTER MUSIC / March 2016
curtails high frequencies. The Snare setting is
the most interesting, though, with positive
Mojo really bringing up the mid-range
thickness and negative shortening the decay.
XLN are fairly tight-lipped on what Mojo
actually does, but they’ve indicated that it
delivers frequency-focused transient
shaping, and our findings certainly concur.
Ultimately, Mojo complements traditional
Attack and Sustain processing nicely, giving
another mechanism for fine-tuning.
For Classic mode adds colour
Powerful Natural & Smooth algorithms
Mojo feature for further shaping
Real-time waveform and tracer display
Optional output clipper
Against No input gain
No multiband option
DS-10 brings drum-specific transient
shaping to your DAW, cleanly, simply
and with excellent results
9/10
> reviews / mini reviews
mini reviews
A rapid-fire round-up of sample libraries, ROMplers and music gear
AudioThing
Hand Clapper
€25
Web www.audiothing.net
Format PC/Mac
Inspired by – and hugely improving on – the
classic Boss HC-2 handclap module, the raison
d’être of Hand Clapper (VST/AU/AAX) is the
generating of handclaps. Out of the box, as it
were, it does its thing using a selection of three
round-robin sample sets combined with filtered
noise, emulating the Roland TR-808 and 909,
and the HC-2 itself. Rather splendidly, you can
also load in a sample of your own (a single WAV
up to four seconds long). Although claps and
snares are the obvious candidates, we got all
sorts of weird and wonderful results feeding it
synth shots, vocals, pianos and the like.
A simple set of adjustable parameters enable
shaping of the source signal. The Frequency and
Gain knobs in the Tone section set the cutoff
(500Hz-12kHz) and resonance (0-6dB) of a
band-pass filter, while the all-important
thickening of the clap is done in the Repetitions
section, where the number of claps fired off in
rapid succession (1-7) is established with the
Amount knob, and the temporal spacing
between them is dictated by Rate
(0-30ms). The duration of the final clap in
the repetition sequence is governed by
the Decay time (from 0ms to 2 seconds),
and a user-specified degree of per-note
chaos can be brought to bear on the filter
and volume level with the Random dial.
Full randomisation of all parameters,
meanwhile, is available via the Random
button, which individual controls can be
rendered immune to using the right-click
Lock command (albeit without any visual
indication as to what’s locked and what’s
not). Basic ambience is on tap, too, in the
shape of a plate reverb algorithm.
By default, Hand Clapper is fixed in both pitch
and output level, no matter what the note
numbers and velocities of the incoming MIDI
notes. Activating the Tuned and/or Velocity
modes, however, enables melodic and/or
velocity-controlled play, should you feel like it’s
something you need. You can also switch in a
0dB hard clipping limiter and render the current
Sample Magic
Magic AB 2
sound to a WAV file.
Obviously, Hand Clapper couldn’t be easier to
use, which makes it both productive and fun; but
more importantly, it sounds truly wicked,
perfectly capturing the spirits of the vintage
machines at its heart. and doing crazy things to
external samples. At this price, it’s a winner.
n9/10n
Wave Alchemy
£50
Mutate
£50
Web www.samplemagic.com
Format PC/Mac
Web www.wavealchemy.co.uk
Format PC/Mac
Reviewed in
195, Sample
Magic’s handy A/B
comparison plugin impressed
us enough to garner an 8/10
score. Version 2 (VST/AU/AAX)
is an evolutionary step rather
than a revolutionary one, still
serving the same purpose of
taking the effort out of
switching between the main
output of your DAW and up to nine reference tracks.
There are two main new features, the first of which is the
integration of three playback modes. Now you can Sync Magic AB
to the host DAW’s timeline (ideal for comparing older versions of a
project), lock it to the host DAW’s transport or control it manually.
Secondly, up to four cue and/or loop points can be set up in each
reference track, each with its own name.
You can now drag tracks in directly from your OS and disable
them to save on RAM; The output can be switched between mono
and stereo; the ‘Mini AB’ option reduces the GUI but retains many
controls; and zooming is now done using the mouse.
We’re a bit surprised by the doubling in price since v1 (thankfully
the upgrade is a very reasonable tenner), but Magic AB 2 still
qualifies as an excellent, if not essential, studio solution.
n8/10n
A refreshingly simple proposition,
this Kontakt 5/Player library
comprises two separate instrument
types – Designed Presets and Raw
Waveforms, each with its own
presets – powered by 3.7GB of
samples grabbed from a hybrid
analogue/digital Eurorack modular
synth setup.
The Raw Waveforms NKI features
three main oscillators, each of which
can load one of 42 multisampled waveforms, and a sub-oscillator
with five available waves; while Designed Presets offers 142 looped
multisamples of programmed patches, with filtering and
modulation cooked in, and controls for start point offset and
randomisation. The three-page scripted interface for both
incorporates filtering, distortion, modulation and unison, plus a
powerful 14-lane, 32-step sequencer for modulation of a fixed set of
parameters (pitch, filter cutoff, effects, etc), and Modulation
(Flanger, Phase or Chorus), Reverb and Delay effects.
While it doesn’t do anything original or innovative, Mutate’s
engine is thoroughly usable and flexible enough to get the job
done, while the soundbank is a versatile source of interesting and
edgy sounds, with an emphasis on bass and EDM flavours.
n8/10n
112 / COMPUTER MUSIC March 2016
mini reviews / reviews <
Soundware round-up
Soundiron
Samplephonics
Steel Tones $49
Liquid Gold £35
This deeply mulltisampled eight-tongue Hapi drum
(Google it) for Kontakt 5 boasts a gorgeous scripted
interface that lets you layer two independent instances
of its core instrument, each with its own adjustable
keyspan and sound-shaping controls. The arpeggiator
and effects bring groove and glamour to the Hapi’s
earthy, raw tones, while the icing on the cake is the set
of 56 pads, ambiences and raw waveforms based on
them. We’d prefer all of the articulations in a single NKI
rather than split between eight, but nonetheless, Steel
Tones is unmissable.
R&B and soul are the umbrella genres of this 740MB
sample collection, but any contemporary producer
could put its 255 loops and 170 shots to good use. The
odd but endearing smorgasbord of drum loops –
some full, others just single elements – and stylejumping basslines make for an intriguing start, but the
best things here are the synth and keyboard loops,
which are beautifully played and full of character. We
wish they came with optional reverb and delay tails,
though. Supremely polished, constantly interesting
and frequently inspirational, Liquid Gold shines.
www.soundiron.com
n10/10n
www.samplephonics.com
n9/10n
Zero-G
Loopmasters
Zetamorph £56
Hip Hop Shadows Vol 1 £30
Produced with movie, TV and game composers in
mind, Zetamorph has plenty to offer musicians as
well. Consisting of 515 24-bit/96kHz samples, it’s a
sonically stunning library of risers, fallers, transitions,
textures, impacts, drones and electronic FX in
general, of the kind that dance producers can’t get
enough of. Although quite a few of the samples are
variants of the same core sounds, overall there’s a
good level of variety provided, and the sheer amount
of time and effort that have clearly been invested
easily justify the very reasonable price tag.
12 downtempo, textural hip-hop construction kits
complete with one-shot components and sampler
patches. The instrumentation is imaginative and
diverse, and the production throughout is flawless.
The problem is that although Hip Hop Shadows Vol 1
weighs in at over a gigabyte, there’s not much to each
kit. What you’re really getting here is 12 superb tracks
that you can have a great time deconstructing and
remixing (we highly recommend shooting for the Live
Pack version), but a fairly limited amount of content
for use outside that context.
www.timespace.com
n9/10n
www.loopmasters.com
n7/10n
Sample Magic
Mode Audio
Future Trap & Footwork £35
Density £16
Bringing “Chicago juke, footwork and ghetto house”
together with “trap, D&B and hip-hop”, Sample
Magic’s latest opus is such a voluminous bargain that
it’s hard to know where to start. Its 751 loops and oneshots include messed-up vox, stemmed drums,
quirky synths and FX, rolling basses, mangled breaks,
melodic mini construction kits and more, with
everything properly named and labelled by key and
tempo. It doesn’t hurt that the production quality is
exemplary, either, evoking a unique but satisfyingly
referential sound.
150 drones and atmospheres presented as
construction kits and loops (the demarcation is
nominal, really), and categorised as Ambiances (sic),
FM Drones, Granulation, Subs and Tonal Textures. An
impressive range of colours and moods are
represented – haunting, pretty, dark, glitchy, trippy,
musical, atonal, aggressive, you name it – and with
the samples running anywhere up to 50 seconds in
duration, the sounds have plenty of time to breathe
and develop. 50 (fairly gentle) “synth stabs” are also
included, and at £16, Density is something of a steal.
www.samplemagic.com
n9/10n
www.modeaudio.com
n9/10n
Wave Alchemy
Spitfire Audio
Drum Tools 02 £50
Ólafur Arnalds Evolutions £238
It’s taken Wave Alchemy long enough to make it, but
the follow-up to Drum Tools 01 (10/10,
151) is every
bit as essential as its predecessor. This monster
collection amounts to 2029 (mostly) electronic drum
samples: 450 kicks, 282 snares, 192 hats, 225 claps,
100 cymbals, 120 toms and 660 assorted percussion
sounds, plus 1528 tape-processed alternatives for
added warmth and grit. It’s a staggeringly expansive
library of individual and layered hits, and with 79
sampler patches in various formats, Wave Alchemy
have even done the kit-building legwork for you.
Sadly only for the full Kontakt 5, this fabulously niche
scripted instrument by BAFTA award-winning
composer Arnalds and Spitfire Audio uses a VCS-3inspired pegboard system to assign (manually or
randomly) colour-coded articulations from a 31GB
(uncompressed) library of evolving string quartet
recordings to specific note ranges, and employs
multiple mic channels and a handful of effects to
conjure up an infinite array of delicate, haunting, truly
beautiful sounds. On the down side, the lack of a
manual is a little annoying.
www.wavealchemy.co.uk
n10/10nt
www.timespace.com
n8/10n
March 2016 / COMPUTER MUSIC / 113
> make music now / blast from the past
BLAST
FROM
THE
PAST
Im
ag
ec
ou
rte
sy
of
pe
rfe
ctc
ircu
itau
dio
.co
m
Press and pundits alike predicted that
Yamaha’s groundbreaking physical
modeling synth would signal the end
for sample-based synths, but it didn’t…
Looking back at the mid-1990s, it’s
obvious that musicians were ready for a
change. The vast majority of synthesisers of
the day made use of subtractive sampleplayback synthesis to create and shape
sounds. Once seen as an alternative to the
simple waveforms produced by analogue
synths, sample playback technology very
quickly began to wear thin as manufacturers
churned out an endless supply of what
amounted to little more than preset players
for the Holiday Inn set.
Yamaha, as it happened, had come late to the
sample-playback game, instead clinging to their
once-popular take on FM synthesis. Even so, by
1994 the company’s backroom boffins had come
up with an entirely new method of synthesis
designed to challenge sample-based
instruments. They called it “Virtual Acoustics” –
another name for physical modeling.
Rather than sculpting a sound by chipping
away at a waveform the way a subtractive
synthesiser does, a modeled instrument creates
its sounds with mathematical algorithms that
simulate the behaviour of the various parts of
an electric or acoustic instrument. For example,
a bow (an exciter, or, as Yamaha called it, a
©
Yamaha VL1
“driver”) scraping across a violin string excites
that string (a resonator) into vibration.
Additionally, the hollow body of the violin
represents another resonator.
This was heady and potentially confusing
stuff to musicians weened on a steady diet of
square waves and resonant filters – but it hardly
mattered, as Yamaha would keep much of this
geek-speak hidden from the user in their swanky
new proof-of-concept instrument. Instead, they
packed the VL1 with prefab instrument
definitions that represented many real (and
unreal) instruments, and piled on loads of
performance-orientated modifiers, each of
which could be mapped to various MIDI
controllers for real-time expression. Parameters
like Breath Noise, Throat Formant, Absorption,
Scream, and Tonguing could be controlled by
the VL1’s velocity- and pressure-sensitive keys,
pedals and mod wheels, or any other MIDI CC.
The VL1 was capable of breathtakingly
realistic emulations of woodwind, brass and
stringed instruments – assuming you put in the
time and effort to master it. Just as a real
trumpet takes practice to play, so, too, does a
modeled trumpet. And therein lies the rub:
even as musicians decried the simplicity of
TECH SPECS
Year of manufacture
1994
Original sale value
£3995
Number made
unknown
sample-playback synthesis, they seemed
equally unimpressed by the VL1’s lack of
hands-on immediacy.
And that’s too bad. The VL1 was a truly
exciting and innovative synthesiser, and though
Yamaha tried their damnedest to make the
technology fly with a series of successors,
sample-playback synths continued to account
for the bulk of the company’s sales.
The musicians of the 90s were, indeed, ready
for a change, but that change came in the form
of renewed interest in the technology of the
past, with virtual analogue synths offering the
immediacy and instant gratification that a
complex and demanding instrument like the VL1
could not. Physical modeling would – and still
does – pop up in the occasional software synth,
but it’s never received the attention it deserves.
APPLIED ACOUSTICS SYSTEMS
TASSMAN 4
An underrated masterpiece of modern
modeling, Tassman works as an instrument
or an effect, relying heavily on AAS’ physical
modeling technology. It’s sat dormant for
over a decade, receiving little or no attention
from its developers. It’s still fun and inspiring,
but desperately in need of an update.
www.applied-acoustics.com
114 / COMPUTER MUSIC / March 2016
NUSOFTING MODELONIA 2.0
NUSofting have taken the purist route with
Modelonia – you won’t find any analogue
filters here! Instead, there are models of
blown-brass and plucked-string behaviour
that can be combined to create new and
unusual instruments. The unfamiliar
controls might be off-putting at first, but it’s
worth making the effort to learn them.
www.nusofting.liqihsynth.com
$2
.9
9
$6
9
$9
9
Three modeling alternatives
CHRISTOPHE DUQUESNE
SPRINGSOUND
One of the most interesting applications of
physical modeling is the creation of entirely
new musical instruments, and SpringSound is
a perfect example of this. An iOS app, it can be
used as an instrument or effects processor,
and it also doubles as an editor for the Haken
Continuum Controller.
www.anckorage.com
9000
9001
